Stack 

Annex 

PS 

1214 

E85 

1909 


r 


French's  International  Copyrighted  (in  tnglana,  her 

Colonies,  and  the  United  States)  Edition  of 

the  Works  of  the  Best  Authors. 


15005 


73. 


H  Comet>£  2>rama  in  Jf  our  Bets 


'?  BY 

FRANCES  HODGSON  BURNETT 

'\:  AND 

WILLIAM  H.  GILLETTE 


COPYRIGHT,  1881,  BY  MRS.  FRANCES  HODGSON  BURNETT 

AND  WILLIAM  H.  GILLETTE 

COPYRIGHT,  1909,  BY  MRS.  FRANCES  HODGSON  BURNETT 
AND  WILLIAM  H.  GILLETTE  (IN  RENEWAL) 

u 


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FRENCH'S  STANDARD  DRAMA. 

Price  15  Cents  each.— Bound  Volumes  $1.25. 


VOL.  I. 

VOL.  XI. 

VOL.  XXI. 

VOL.  XXXI. 

1  Ion 

81  Julius  Cssar 

161  All's  Fair  in  Lore 

241  Merry  Wives  of  Windto, 

J  Fazio 

82  Vicar  of  Wakefield 

162  Hofer 

242  Mary's  Biitl.duy 

1  The  Lady  ol  Lyoni 
4  Richelieu 

83  Leap  Year 
84  The  Catspaw 

163  Self 
164  Cinderella 

243  Shaudv  Maguire 
244  Wild  Oats 

5  The  Wife 

fo  The  Passing  Cloud 

165  Phantom 

24.i  Michael  Erie 

«  The  Honeymoon 

86  Drunkard 

166  Franklin              [Moscow 

•.'46  I,  Hot  Witness 

1  The  School  for  Scandal 

87  Rob  Roy 

167  The  Gunmaker  of 

247  Willow  Copse 

8  Money 

Sa  George  Barnwell 

168  The  Love  01  »  Prince 

248  People't  Lawyer 

VOL.  II. 

VOL.  XII. 

VOL.  XXII. 

VOL.  JCXkll. 

»  The  Stranger 

89  Ingomar 

169  Son  of  the  Night 

249  Tht  Boy  Martvrt 

10  Grandfather  Whitehead 

90  Sketches  In  India 

170Rory  O'More 

250  I.ucretia  Borgiti 

11  Richard  III 

91  Two  Friends 

171  Golden  Eagle 

251  Surgeon  of  Parii 

12  Love's  Sacrifice 

9'  Jane  Shore 

'72  Rienii 

252  Patrician's  Daughte* 

13  The  Gamester 

93  Corsican  Brothers 

173  Broken  Sword 

253  shoemaker  of  Toul  use 

14  A  Cure  for  the  Heartache 

54  Mind  vourown  Business 

174  Rip  Van  Winkle 

251  Momentous  Question 

15  The  Hunchback 
16  Don  Casar  de  Baian 

95  Writing  on  the  Wall 
98  Heir  at  Law 

175  Isabelle 
176  Heart  of  Mid  Lothian 

255  Love  and  Loyalty 
256  Robber's  Wife 

VOL.  111. 

VOL.  XIII. 

VOL.  XXI11. 

VOL.  XXXIII. 

17  The  Poor  Gentleman 

97  Soldier's  Daughter 

177  Actress  of  Padua 

257  Dumb  Girl  of  Genoa 

18  Hamlet 

9-  Douglas 

178  Floating  Beacon 

2.i8  Wreck  Ashore 

19  Charles  II 

S9  .Marco  Spada 

179  Bride  ol  Lammermoor 

259  Cl.iri 

20  Venice  Preserved 

100  Nature's  Nobleman 

18"  Cataract  of  the  Gangei 

260  Rural  Felicity 

21  Pizarro 

10)  Sardanapalus 

181  Robber  of  the  Rhine 

261  Wallace 

22  The  Love  Chase 

10-.'  Civilization 

182  School  ol  Reform 

262  Madelaine 

23  Othello 

I(i3  The  Robbers 

183  Wandering  boyt 

263  The  Fireman 

24  Lend  me  Five  Shillings 

104  Katharine  and  Petruchlo 

134  Mazeiipa 

264  Grist  to  the  Mill 

VOL.  IV. 

VOL.  XIV. 

VOL.  xxiv. 

VOL.  XXXIV. 

85  Vlrginius 

105  Game  of  Love 

185  Young  New  York 

266  Two  Loves  and  a  Life 

26  King  of  the  Comment 

106  Midsummer  Night't 

186  The  Victimt 

266  Annie  Blake 

S7  London  Assurance 

107  Ernestine             [Dream 

187  Romance  after  Marriage 

267  Steward 

88  The  Rent  Day 

108  Rag  Picker  of  Paris 

1X8  Biigand 

268  Captain  Kyd 

29  Two  Gentlemen  of  Verona 

109  Flying  Dutchman 

139  Poor  of  New  York 

269  Nick  of  the  Woodt 

30  The  Jealous  Wife 

1  io  Hypocrite 

190  Ambrose  Gwinett 

270  Marble  Heart 

81  The  Rivals 

1  1  1  Ther..< 

191  Raymond  and  Agnei 

271  Second  Love 

32  Perfection 

112LaTourdeNesl« 

192  Gambler's  Kale 

272  Dream  at  Sea  I' 

VOL.  V.      [Debts 

VOL.  XV. 

VOL.  XXV. 

Vol..  XXXV. 

18  A  New  Way  to  Pay  Old 

113  rreiand  As  It  Ik 

193  Father  and  Son 

273  Breach  of  Promise 

34  Look  Before  -You  Leap 

114  Sesof  Ice 

194  Mussaniello 

274  Review 

35  King  John 

115  Seven  Clerks 

195  Sixteen  String  Jack 

275  Lady  of  the  Lake 

»«  Nervous  Man 

116  Gameot  Life 

196  Youthlul  Queen 

276  Stilf  Waler  Runs  Deep 

37  Damon  and  Pythias 

117  Forty  Thieves 

197  SMeton  Witness 

277  The  Scholar 

38  Clandestine  Marriage 

118  Brva'n  Boroihme 

198  Innkeeper  of  Abbeville 

276  Helping  Hands 

39  William  Tell 
40  Day  after  the  Wedding 

119  Rom  ai  ice  and  Reality 
120  L'golino 

l'J9  Miller  and  his  Men 
2  '0  Aladdin 

279  Faust  nnd  Marguerite 
2*0  Last  Man 

VOL.  VI. 
41  Speed  the  Plough 
42  Romeo  and  Juliet 

\  -L.  XVI. 
121  The  Tempo! 
122  The  Pilot 

VOL.  XXVI. 

201  Adrienne  the  Actreu 
202  Undine 

VOL.  XXXVI. 

Sal  Belle's  Stratagem 
2f>2  Old  and  Young 

43  Feudal  Times 

123  Carpenter  of  Rouen 

203  Jesse  Brown 

283  Ra.faella 

44  Charles  the  Twelfth 
15  The  Bride 

1  4  King's  Rival 
12ft  Little  Treasure 

204  Atmodeus 
205  Mormons 

284  Ruth  Oakley 
285  British  !-Jlf  ve 

16  The  EMIies  of  a  Night 

126  Dombey  and  Son 

21.6  Blanche  of  Brandy  wine 

2*>6  A  Life  g  iiansom 

12"  Parents  and  Guardians 

2u7  Viola 

287  Giralda 

^  -  ^j          w  ' 

118  Jewess 

208  Deseret  Deserted 

28    Time  Trie-  All 

™amHjs«ar                     o 

VOL.  XVII. 

VOL.  XXVII. 

<BAi  VII. 

199  Camille 

209  Americans  in  Paris 

VOL.  XXXVII. 

49  Road  to  Hkto 
5(1  Macbeth  *«A 

130  Married  Life 
131  Wenlock  of  Wenlock 

210  Victorine 
211  Wizard  of  the  Wave 

289  Ella  Rosenl.urg 
29(i  Warlock  of  the  Glen 

51  Temper     \£      ^ 

132  Rose  of  Etlrickvale. 

21  2  Castle  Spectre 

291  Zelina 

52  Evadne        trX    \xV 

i3  Bertram          \*»      ^f 

133  David  Copperfield 
134  Aline,  or    the    Rose    of 

213  Horse-shoe  Robinson 
21,'  Armand,  Mrs.  Mowatt 

292  Beatrice 
2*3  Neighbor  Jackwood 

>5  Much  A,)«AboulN»thIng 

135  Pauline            [Klllarney 
136  Jane  Eyre 

21  .'.  Fashion,  Mrs.  Mowatt 
216  Glance  at  New  York 

294  Wonder 
295  Robert  Kmmet 

VOL.1lftl.       ^- 
57  The  Apostate  _  ^  "    £J. 
68  Twelfth  Nighfyi      yf) 
59  Brutus 
80  Simpson  A  Co       ft 
61  Merchant  of  Venlce*>. 

^      VOL.  xvm. 

W  Night  and  Morning 
134xEthiop 
39  Thr.-e  Guardsmen 

VOL.  XXV1IL 
317  Inconstant 
218  Uncle  Tom'i  Cabin 
219  Guide  to  the  Stage 
220  Veteran 
221  Miller  of  New  Jersev 
222  Dark  Hour  before  Dawn 

296  Green  Bu.-het 
VOL.  XXXVIII. 
297Floweisol  the  Forest 
298  A  Bachelor  of  Arts 
»».  The  Midnight  Banquet 
300  Husband  of  in  Hour 
301  Love's  I.auoi  Lost 

62  Old  Heads*  Voting  HMas 

llWir'n  enM  a  l'*ri  v  e'rt 

223  Midsnm'rNight'sDream 

302  Naiad  Queen 

63  Mountaineers             [rCg» 
64  Three   Weeks  after  MaF 

J4S(U  Dragoons 
i    \|t»VOL.  XIX. 

[Laura  Keene's  Edition 
224  Art  and  Artifice 

303  Caprice 
304  Cradle  of  Liberty 

VOL.  IX. 
i6  Love 

VlS  Drtt,  or  the  Dismal 
[Swamp 

VOL.  XXIX. 
225  Poor  Young  Man 

VOL.  XXX  IX. 
805  The  Lost  Ship 

«6  As  Yon  Like  Tt 
67  The  Elder  Brother 

146  LasOays  of  Pompeii 
147  EimeraliU 

226  Ossawattomie  Brown 
227  Pope  of  Rome 

306  Country  Sqnire 
307  Fraud  audits  Victim. 

68  Werner 

148  I'eter  WlUins 

228  Oliver  Twist 

308  Putnam 

6'.)  Gisipput 

149  Ben  the  Bolts  wain 

2'!9  Pauvrett* 

309  Kingund  Desorter 

70  Town  and  Countrr 

150  Jonathan  Bradford 

230  Man  in  the  Iron  Mask 

310  La  F  ammina 

71  King  Lear 

151  Retribution 

231  Knight  of  Arva             M 

•SIM.J,^^,.,,.,., 

72  Blue  Devils 

152  Mineral! 

232  Moll  Pitcher 

A12  Gwinnette  Vauirhan 

VOL.  X. 

VOL.  XX. 

VOL.  XXX.                               v<)i 

73  Henry  VIII 

1S3  French  Spv 

f  .-.•*.!    T>l-_l.     17  „  -J    0 

74  Married  and  Single 

154  V,  ept  of  Wish-ton  Wish 

75  Henrv  IV 

155  Evil  Genius 

76  PaufPrv 
77  Guy  Mannering 
78  Sweethearts  and  Wives 

156  Ben  Bolt 
158  Red  Mask 

..,„      ,.„>     ..MU.U,      ......     ,.,_^^_ 

237  Six  Degrees  of  Crime  ^•••E 
238  The  Lady  and  the  Devil    3l"E 

79  Serious  Family 

159  Life  of  an  Actrese 

239  AvenireKorMoorofSici-1319  Ivanhne 

80  Sue  Stoops  to  Conquer 

loO  Wedding  Day 

240  Masks  and  Faces          [ly  ;320  Jonathan  in  Eueland 

(French's  Standard  Drama  Continued  on  jd  page  of  Cover.) 

SAMUEL  FRENCH,  28-30  West  38th  Streejt,  New  York  City. 

New  an1  Explicit  Descriptive  Catalogue  Mailed  Pree  <HI  Reaues 


ESMERALDA 


BY 

FRANCES     HODGSON     BURNETT 

AND 

WILLIAM  H.  GILLETTE 


CAUTION.— All  persons  are  hereby  warned  that  "ESMERALDA,"  being  fu! 

protected  under  the  copyright  laws  o(  the  United  States,  is  subject  to 

royalty  ;  and  any  one  presenting  the  play,  without  the  consent 

of  the  authors,  or  their  authorized  agent,  will  be  liable 

to  the  penalties  bylaw  provided.   Application 

for   stage    rights    must   be   made    to  ' 

SAMUEL  FRENCH. 


COPYRIGHT,  1881,  BY  MRS.  FRANCES  HODGSON  BURNETT 

AND  WILLIAM  H.  GILLETTE 

COPYRIGHT,  1909,  BY  MRS.  FRANCES  HODGSON  BURNETT 
AND  WILLIAM  H.  GILLETTE  (IN  RENEWAL) 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHER 

38-30  WEST  38TH  STREET 


LONDON 

SAMUEL  FRENCH,  LTD. 

26  SOUTHAMPTON  STREET 

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THE  LIBRARY 
ERSITY  OF  CALIFORNIA 
LOS  ANGELES 


ORIGINAL   CAST   OF   CHARACTERS   AS  PRODUCED  AT  THB 

MADISON  SQUARE  THEATRE,  NEW  YORK, 

OCTOBER  29TH,  1881 


ESMERALDA 


CAST  OF  CHARACTERS 

1.  MR.  ELBBRT  ROGERS,  a  North  Carolina  Farmer MR.  LESLIE  ALLHN 

2.  MRS.  LYDIA  ANN  ROGERS,  his  wife KATK  DENIN  WILSOH 

8.  Mi?s  ESMERALDA  ROGERS,  his  daughter ANNIE  RUSSELL 

-*.  DAVE  HARDI-,  a  young  North  Carolinian EBEN  PLTMPTON 

o.  MR.  ESTABROOK,  a  man  of  leisure THOMAS  WHIFFEN 

6.  MR.  JACK  DESMOND,  an  American  artist  in  Paris E.  A.  MCDOWELL 

7.  Miss  NORA  DESMOND,  his  sister AGNES  BOOTH 

8.  Miss  KATE  DESMOND,  his  sister MAT  GALLAGHER 

9.  "MARQUIS"  DE  MONTESSIN,  a  French  adventurer. .DAVENPORT  BEBUS 

10.  GEORGE  DREW,  an  American  speculator EDWIN  KNOWLE» 

11.  SOPHIE,  a  maid CLARA HYAT* 


THB  FIRST  RUN  AT  THE  MADISON  SQUARE  THEATRE 
WAS  350  NIGHT8 


Stadt 
Annex 


ESMERALDA 


ACT  I. 

BCENE. —  Door  L  0  door  L  8. —  R  2  windows  G.  Table 
(round)  up  C  o  little.  Fireplace  L  2.  Spinning  wheel 
up  R.  Large  chair  down  L.  Room  in  Rogers  house,  North 
Carolina.  Rough  board  or  log  interior.  DREW  appears 
at  door  R  and  knocks  —  looks  in  a  little  and  knocks 
again.  Louder. 

DREW,  (outside  at  windoic)  There  doesn't  seem  to  be 
anyone  about,  (steps  in  and  looks  about  —  entering) 
From  the  general  aspect  of  things  I  should  say  it  wouldn't 
be  difficult  to  make  a  bargain  with  them  —  and  a  good  one. 
They  are  generally  pretty  innocent.  Now  if  Estabrook  will 
keep  quiet,  (looking  around,  goes  to  door  —  off  L  R  of 
ivindow)  Estabrook!  Esta  —  oh,  he's  making  a  sketch  of 
some  confounded  thing  or  other,  (calls)  Estabrook 

ESTA.  (outside  R)  Don't  make  such,  a  row.  I  hear 
you. 

DREW.     Well,  come  in. 

ESTA.     In  a  moment. 

DREW,  (in  lowered  voice)  But  I've  something  rather 
important  to  say  to  you. 

ESTA.  (outside)  Oh,  you  have.  All  right.  Don't  be 
in  such  a  tremendous  hurry.  I'm  coming,  my  dear  fellow. 
(enters  with  sketch-book,  pencils,  etc.,  hastily  gathered  'up) 
With  all  respect  for  energy  of  character  I  must  confess  that 
it  jars  on  the  pastoral  nature  of  the  scene.  What's  thf 
difficulty?  Business  again,  I  suppose,  (goes  down  R) 

DREW,      (down  C)      What  were  you  sketching? 

ESTA.  Oh,  I  just  caught  a  glimpse  of  Old  Bald,  you 
know,  and  it  wasn't  so  bad,  either  —  trifle  comical  to  be 
sure,  but  with  a  decided  atmosphere  of  antiquity  about  it. 
So  I  just  jotted  —  that  is  —  I  was  about  to  jot  —  when  — 
oh! — this  is  the  house  where  the  owner  of  the  unlimited 
vein  of  iron  ore  • 

3 


2115005 


DREW,  (puts  hand  over  ESTABROOK'S  mouth  quickly; 
'.ESTA.  drops  books,  stool,  etc.)  For  heaven's  sake,  keep 
still. 

ESTA.  My  dear  fellow,  there's  a  vigor  about  you  that 
might  well  be  toned  down  —  to  advantage,  (picks  up 
books) 

DREW.  (C)  Look  here  —  I  must  make  a  bargain  with 
these  people.  It's  a  matter  of  thousands  of  dollars. 

ESTA.      (R  —  innocently)      On  their  side? 

DREW.  Well,  no,  not  exactly.  Rather  more  in  another 
direction.  I  bought  three  farms  over  in  Yancey  County 
last  week  for  a  song,  and  there  was  a  vein  of  iron  ore  on 
them  worth  two  hundred  thousand  dollars. 

ESTA.  (regarding  him  with  some  curiosity)  There  was, 
eh  ?  And  how  did  the  transaction  strike  you  ? 

DREW.     It  struck  me  as  a  decidedly  good  thing. 

ESTA.     It  did?    Well,  I  suppose  it's  a  matter  of  taste. 

DREW.     What  do  you  mean? 

ESTA.  Oh,  only  that  it  scarcely  struck  me  in  that  way. 
Matter  of  temperament,  I  dare  say,  and  all  that  sort  of 
thing.  Struck  me  as  rather  shabby,  don't  you  know. 

DREW.  Oh,  that's  sentiment,  and  the  Grand  Consolidated 
Ferro-Auriferous  Mining  Company  don't  deal  in  sentiment. 
I  must  find  someone,  (goes  toicard  door,  L  S) 

ESTA.  (looking  around)  And  this  is  tbe  house  —  the 
little  house  they  live  in  —  and  there's  a  simplicity  about 
it 

DREW.  Never  mind  the  simplicity  about  it.  I  want  to 
find  the  people,  (knocks  on  door.  ESTA.  seats  himself  R, 
leisurely,  and  opens  sketch  book) 

ESTA.  They're  hoeing  corn  somewhere  —  and  for  a  study 
in  green 

DREW.  Confound  studies  in  green,  (knocks  again)  I 
don't  believe  there's  a  soul  in  the  place. 

ESTA.     There  isn't.     I  tell  you  they're  ^ill  hoeing  corn. 

DREW,    (knocks  more  violently)    Hallo  there  —  hallo 

ESTA.  Sit  down,  Drew,  and  take  it  easy  —  you  may  as 
well.  I'm  going  to  make  a  sketch  of  this  interior  —  there's 
an  atmosphere  about  it. 

DREW.  Oh,  the  deuce.  I  didn't  come  here  after  an  at 
mosphere.  I  came  on  business. 

ESTA.  (Reflectively  absorbed  in  sketch)  As  I  said,  you 
get  simplicity  in  these  mountain  regions  —  simplicity  of  de 
sign.  (Take  your  head  out  of  the  way,  Drew.)  You  lack 
curve,  but  you  get  simplicity. 

DREW.  Are  you  actually  making  a  picture  of  this 
ehanty?  (coming  C) 

ESTA.     I'm  making  an  effort  in  that  direction. 

DBEW.     (Sits  down  L  of  G    table  and  produces  piece  */ 


ESMERALDA".  g 

ore )  By  Jove,  it's  the  richest  I  ever  struck.  Talking  of 
simplicity,  think  of  the  simplicity  of  a  man  who  plants 
and  hoes  corn,  year  after  year,  on  a  vein  ore  that  might 
make  a  millionaire  of  him.  That's  what  this  particular 
lunatic  has  been  doing. 

ESTA.  And  now  the  Grand  Consolidated  Ferro-Au- 
riferous  Mining  Company  proposes  to  take  it  in  charge. 

DREW.  That  lot  of  rock  is  worth  thousands  of  dollars  — 
thousands;  and  the  owner  is  probably  at  this  moment  hoe 
ing  corn  preparatory  to  coming  home  to  his  supper  of  corn 
bread  and  bacon. 

ESTA.  (reflectively)  Look  here!  That's  a  situation 
if  a  man  was  going  to  write  a  book. 

DREW.  It's  a  situation  if  a  man  wasn't  going  to  write 
a  book,  (springs  up  impatiently  —  icalks  up  and  down) 
By  Jove  —  I  wish  he'd  come. 

ESTA.  (still  reflecting)  And  yet  it's  going  to  slip 
through  his  fingers  —  poor  old  chap. 

DREW,  (stopping  in  his  walk,  C)  And  the  railroad  just 
through  to  Elizabethville.  (takes  out  note-book)  Let's 
see.  (sound  of  chopping  wood  back  of  house;  eagerly) 
There's  some  one  at  last,  (hurries  to  door  L  3  E)  Hallo 
—  hallo  —  you  —  I  say  —  ( to  ESTA.  )  He's  chopping  wood. 
Hallo •  (chopping  sound  ceases)  Hallo,  sir. 

ROGERS,  (from  outside,  off  L)  Hallo —  (calling  to 
someone)  Mother,  I  'low  y're  wanted.  Some  un's  a  hol- 
lerin'.  Mother  —  Lyddy  Ann  !  ! 

DREW.  Lyddy  Ann!  Who  is  Lyddy  Ann?  Who  wants 
to  see  Lyddy  Ann!  (sound  of  wood  chopping  begins 
again)  Say  —  Hallo  there  —  You. —  Hallo  —  I  say!!  (wood 
chopping  sound  stops) 

ROGERS.  Mother  whar  air  ye?  Some  un's  hollerin'  at 
the  door.  Lyddy  Ann 

DREW.  No,  it's  you  I  want.  ^  Can't  you  come  here  for  a 
few  moments. 

(Cross  down  L  ly  table.     Old  man  ROGERS  is  heard  shuf 
fling  through  the  house.) 

ROGERS,     (appearing  at  door  L  8  E)     She  ain't  yere. 

DREW.      (L)      Who  ain't  here? 

ROGERS,  (at  door)  She  ain't  —  Lyddy  Ann  —  mother, 
you  know. 

DREW.     Do  you  mean  your  wife? 

ROGERS,  (nervously)  Y-yes  —  thet's  her  —  I  mean 
mother. 

DREW.     I  don't  want  your  wife. 

ROGERS.  (C  —  coming  C.  Pause  —  surprise)  Who  d'ye 
want  then?  Esmeraldy? 


g  ESMERALDA. 

*  DBEW.  No,  I  want  the  man  who  owns  this  farm  around 
here.  It's  rather  a  barren  pJace,  but  I  thought 

ROGERS.     Wall  mother  —  she's  out  somewhares. 

DREW.     Look  here.     Is  this  farm  hers  or  yours? 

ROGERS.  Wall,  I  reckin  I  paid  fer  it  —  sorter  —  but 
mother  —  she  —  she  kinder  runs  it  —  an'  I  don't  'low  to 
enter feer  much.  Thet's  the  way  it  is.  (with  an  effort  at 
cheerfulness)  But  won't  you  set  down? 

DREW,      (sits  L)      Thanks. 

ROGERS,     (glances  toward  ESTA.)     Ain't  he  'long  with  ye ? 

DREW.  Yes  —  Oh  yes  —  Estabrook  —  this  is  the  gentle 
man  I  was  looking  for. 

(EsTA.  rises  and  comes  forward.  Old  man  shakes  his  hand 
with  tremendous  cordiality,  rather  to  ESTA.'S  bewilder 
ment.) 

ROGERS.  Howdy!  Howdy!  I'm  glad  ter  be  made  ac 
quainted.  Rogers  is  my  name.  Set  down  —  set  down. 
(gets  chair  from  R  of  table  and  sets  it  L  of  ESTA. —  sits) 
Mother,  she'll  be  pow'rfle  glad  ter  see  ye  —  pow'rfle.  Be 
ing  raised  in  Lizbethville  like  she  was,  it  kinder  goes  hard 
with  her  bein'  so  fur  away  from  folks,  an'  she's  allus 
mighty  glad  ter  see  strangers,  an'  g?t  'em  ter  talk  ter  her. 
Whar  air  ye  from  ? 

(All  seated.) 

ESTA.     New  York^-    as  much  as  anywhere. 

ROGERS.  Lor',  how  tickled  mother  wud  be  ter  see  ye. 
She  hain't  never  ben  ter  New  York,  but  Lizbethville  — 
that  ye  know,  whar  she  was  raised  —  it  kinder  made  her 
feel  like  she  knowed  sutJiin  of  how  New  York  was.  Thar's 
three  churches  to  Lizbethville,  an'  four  stores,  an'  a  post 
office.  She's  high-sperreded4  mother  is.  (coughs  uneasily) 

DREW.  And  you  say  she  takes  charge  of  your  farm  for 
you? 

ROGERS.  Waal  yes  —  she  kinder  runs  thinsrs.  She's  a 
pow'rfle  manager,  mother  is  —  an'  she's  high  spereted,  and 
it's  —  waal  —  it's  kinder  easier  ter  let  her.  An'  her  bein' 
raised  in  Lizbethville  makes  her  more  businessliker  then  me 
an'  Esmeraldy. 

ESTA.     (to  ROGERS)     And  who  is  Esmeralda? 

ROGERS,  (brightening  visibly)  She's  my  little  gal  — 
'tleast  she  ain't  so  little  now.  She's  eighteen  years  old  an' 
goin'  ter  be  married  —  Lor'  just  ter  think  of  her  agoin  ter 
be  married. 

DREW.     Speaking  of  Mrs.  Rogers. 

ROGERS.     Of  which? 

DREW.    Of  Mrs.  Rogers  —  your  wife- 


ESMERALDA.  7 

ROGERS.    Oh  —  ye  mean  mother  —  thet's  so. 

DREW.  Yes.  I  suppose  the  land  around  here  isn't  good 
for  much.  Now  yours,  for  instance.  What  is  her  opinion 
of  it? 

ROGERS.  Her  opinion (hesitating)  Of  —  of  the 

land? 

DREW.     Yes.    What  do* you  think  she'd  call  it  worth? 

ROGERS.     Waal,  I  dunno  so  much  ahout  thet. 

DREW.    Hasn't  she  ever  given  you  her  opinion  of  it? 

ROGERS,  (slowly)  Waa-al no  —  not  eggzackly.  She's 

kinder  confined  herself  more  ter  givin'  me  her  opinion  o'  me 
fer  buyin'  it.  (put  chair  back) 

DREW.     Oh,  that's  it,  is  it? 

ROGERS.    That's  more  it  then  the  other. 

DREW.     Um!     What  does  she  say? 

ROGERS.  Wall  —  she  sez  a  heap,  now  an'  agin  —  when 
she  gits  started  on  thet,  we  kinder  change  the  subjick. 

DREW.     She  doesn't  hold  it  of  much  account,  of  course. 

ROGERS,  (glances  cautiously  round,  takes  chair  towards 
DREW,  leans  foncard  and  lays  hand  impressively  on  DREW'S 
knee)  She  won't  never  fergive  me  fur  buyin'  it  as  long  ez 
she  drors  breath.  When  she  thinks  of  it  —  it's  like  a  red- 
hot  coal  a-touchin'  her  —  an'  it's  something  like  the  same 
way  with  me.  I've  sorter  found  out  —  through  her  —  ez 
I  was  a  derned  fool  fer  buyin'  it,  an  ef  I'd  had  the  sense 
an'  speret  of  a  —  of  a  —  waal,  of  anything  that  can  be  set 
low  enough,  I'd  never  done  it.  (sighs  and  draws  tack) 
That's  what  I've  gethered  from  little  things  she's  let  fly 
when  her  speret  was  up  —  ye  kin  allus  gather  a  right  smart 
from  what  mother  sez  them  times. 

DREW,  (cross  to  C)  Well,  I  suppose  she'll  be  here  be 
fore  long,  won't  she?  You  see  I  have  a  little  idea 

(rises)  That  is,  it  occurred  to  me  that  possibly 

ROGERS,  (suddenly)  Say!  Was  ye  thinkin'  o'  stayin' 
round  yere  till  she  comes? 

DREW.     Yes. 

ROGERS.     An'  talkin'  to  her  about  the  land? 

DREW.  Yes,  I  wanted  to  have  a  little  talk  with  loth 
of  you. 

ROGERS.  (hurriedly  rising)  Oh,  ye  won't  need  me  — 
when  ye  git  her  started  ye  won't  need  me.  I  reckin  I'll  hev 
to  go  and  get  a  load  o'  Avood  about  —  about  ten  miles  from 
yere.  I  'low  I'd  better  start  right  now  —  (about  to  put 
chair  B  of  table)  Ye  won't  need  me  when  ye  git  her 
started  about  the  land,  (going) 

DREW,  (catching  his  arm)  Look  here,  you  mustn't  go. 
(gently  pushes  him  back  into  seat) 

ROGERS,  (nervously)  Thet  thar  wood  —  we  can't  do 
without  it.  (desperately)  Ye  don't  know  nothin'. 


ESMERALDA. 

sits,  tries  to  allay  his  fears.) 

ESTA.  (aside)  Oh,  this  is  a  shame  —  to  get  the  poof 
old  chap's  land  like  this  —  it's  a  rascally  shame,  by  Jove. 
(go  up  R  then  down  L  —  goes  to  fireplace) 

MRS.  EOGERS.  (speaking  from  outside)  Esmeralda, 
where's  your  father?  . 

ROGERS,  (rise)  Thar  —  thar  she  is  —  an'  thet  thar 
wood,  (go  up  C  —  come  "back  -for  chair,  put  it  in  place) 

DREW.  Look  here  —  the  best  thing  for  you  to.  do  is  to 
take  us  over  the  farm  —  I  want  to  take  a  look  at  it.  Sup 
pose  we  go  before  she  comes,  (rising)  I  think  we'd  just 
as  well 

MRS.  ROGERS,      (outside)      Esmeralda  —  Esmeralda!! 

ROGERS,  (going  quickly  toward  door  L  C  Stopping) 
Les  go  —  les  go  —  she  b'ain't  feeling  her  best  —  I  kin  tell. 
(beckons  DREW  vigorously  and  exits  off  L  C) 

DREW.  (At  C  D)  All  right,  Estabrook  —  if  you  don't 
want  to  come  with  us  you'll  find  a  yellow  dog  at  the  side 
of  the  house,  (pointing)  There's  more  atmosphere  about 
him  than  anything  else  on  this  place. 

ESTA.  (go  to  B  of  DREW)  Hang  the  yellow  dog.  I'm 
going  to  see  this  thing  out. 

DREW,      (finger  to  lip  cautiously)     Keep  quiet,  old  chap. 

ESTA.  Drew,  it's  a  shame  —  it's  a  confounded  shame. 
(going)  And  such  an  innocent  old  fellow,  too.  (exit  with 
DREW  L  C  off  L) 

(Enter  MRS.  ROGERS  R;  she  looks  about  R  3  E.) 

MRS.  ROGERS.  There  was  some  one  here  —  I  heard  him 
talking,  (looking  out  window  E)  There  they  go  —  what 
did  he  take  them  away  for  without  letting  me  see  them? 
(pause;  turns  away  in  sullen  disappointment)  Always 
drudge  —  drudge  —  drudge  —  nothing  else  —  and  no  chance 
of  anything  else.  I  ought  to  be  used  to  it  by  this  time. 
But  I  suppose  I  never  will  be.  It  comes  over  me  morning, 
noon  and  night.  And  there's  no  escape.  I  was  a  fool. 
There  wasn't  a  man  in  Lizabethville  or  round  I  mightn't 
have  had  when  I  was  teaching  school  there  —  and  some  have 
done  well  since  then  —  done  well  —  and  moved  off  to  big 
cities.  And  for  a  mere  fancy  —  a  whim  —  I  came  to  this  — 
to  drudge  my  life  out  on  a  rocky  farm  —  and  never  see  a 
BOU!  from  month's  end  to  month's  end.  And  I  was  a  hand 
some  girl,  too  —  and  always  had  it  in  me  to  kind  of  long 
for  what  was  going  on  outside.  What  fools  girls  are. 
Well,  it's  done,  but  I  never  forget  it  —  and  I  know  it  doesn't 
do  any  good  —  I  know  it  —  I  know  it.  (sits  L  of  table 
having  put  chair  there) 


ESMERALDA.  9 

(ESMEBALDA  enters  door  with  pail  —  stops  —  looks  timidly 
at  MRS.  R.;  advances  till  she  stands  near  her.) 

ESM.      (L  C  —  timidly)     Mother 

MRS.  R.  Oh.  —  you're  there  —  are  you?  What  makes 
you  slink  about  that  way,  as  if  you  were  scared?  That's 
another  cf  your  father's  ways.  Where  have  you  been  ? 

ESM.  (nervously)  I've —  been  pulling  the  corn  for  sup 
per —  and  here  it  is,  mother. 

MRS.  R.     Here  it  is!     Where?     It  isn't  in  the  pail. 

ESM.  (looks  in  pail;  then  embarrassed)  Oh  —  I  —  I  — 
must  have  left  it  there.  We  were  talking  —  and  —  he  laid 

it  down  by  me  on  the  grass  —  and I  —  think  I  forgot 

it.  I'll  go  and  get  it.  (puts  pail  near  door  L  C;  turns  to 

go) 

MRS.  R.     Stop!     Who  was  with  you? 

ESM.      ( looking  doicn )      Dave,  mother 

MRS.  R.  Don't  hang  you  head  down  as  if  you  had  no 
spirit  in  you.  That's  another  of  your  father's  ways.  You 
two  are  so  alike  you  drive  me  wild.  What  was  it  you  were 
talking  about? 

ESM.  We  were  talking  —  he  was  saying  —  he  was  say 
ing 

MRS.  R.  (sharply)  Did  it  take  him  a  week  to  say  it? 
(ESM.  looks  up  piteously)  Well,  go  on. 

ESM.  If  —  if  you  don't  mind  —  I'll  call  him,  mother  — 
and  —  he'll  tell  you  himself.  He's  down  by  the  bars  —  he 
wanted  to  come  in  with  me  —  but 

MRS.  R.  But  what?  You  were  afraid  to  let  him,  I  sup. 
pose.  As  if  I  didn't  know  what  he  wanted. 

ESM.  (timidly  draws  near  MRS.  R.  and  lays  hand  on 
her  "nrm)  Don't  be  angry,  mother,  please  don't.  It's  all 
my  fault.  Don't  let  what  I  do  make  you  blame  Dave  — 
or — or  father,  (up  to  door,  L  of  it) 

MRS.  R.  (relenting  a  little)  It's  not  so  much  your 
fault  as  your  father's.  You  get  it  all  from  him.  You'd  be 
well  enough  if  you  had  more  spirit  and  set  more  value  on 
yourself,  (rises;  crosses  L  to  R) 

ESM.      (looks  out  of  door  quickly)     Mother,  he's  coming. 

MRS.  R.  Well,  you  might  have  done  better.  (aside) 
If  there  was  any  sort  of  a  chance  for  her  around  here,  I'd 
never  listen  to  it  for  a  moment.  If  we  lived  in  Lizbethville. 

ESM.     (coming  down  C)     Here  he  is,  mother. 

(DAVE  enters  L  C  and  goes  at  once  to  ESM.  and  takes  her 
hand,  ichich  seems  to  nestle  in  his  as  if  it  had  found  a 
safe  resting  place.  MRS.  R.  looks  at  them.)  * 

DAVE.  (R  of.  ESM.)  Well,  Mrs.  Rogers,  maybe  you 
kcow  how  it  is  with  us. 


1(J  ESMERALDA. 

MBS.  R.  (rather  sullenly)  Oh,  yes,  I  know  —  I'd  have 
been  blind  not  to  have  seen  it. 

DAVE.    And  I  hope  —  you've  nothing  particular  against  it. 

MRS.  R.  Nothing  particular  —  no  more  than  I've  noth 
ing  particular  for  it. 

DAVE.    I  know  I  ain't  good  enough  for  her,  but • 

MBS.  R.     Well,  she  might  have  done  better,      (sits  L.) 

DAVE.  She  might  have  found  a  richer  fellow  —  and  a 
smarter  fellow,  but  she  couldn't  have  found  one  anywhere 
who'd  think  more  of  her.  (looking  down  at  ESM.,  who 
nestles  close  to  his  side  L)  I  ain't  much  of  a  fellow  to 
talk,  but  there's  no  telling  how  dear  this  little  girl  is  to  me. 

ESM.  I  shouldn't  care  for  money,  mother.  I  shouldn't 
know  what  to  do  with  it;  but  when  I  go  away  from  father 
—  dear,  gentle  father  —  I  couldn't  bear  to  go  to  any  one 
who  was  different  —  and  Dave  —  I  —  I've  known  Dave  so 
long,  (hides  face  on  his  shoulder.) 

DAVE.  She's  known  me  so  long  that  she  kinder  trusts 
in  me  —  she  kinder  trusts  in  me,  Mrs.  Rogers  —  and  I 
reckon  you  can  trust  me,  too. 

MBS.  R.     I' haven't  anything  against  you. 

ESM.  (looking  up;  crossing  to  R)  Tell  her  about  the 
little  house,  Dave. 

MRS.  R.     What  house? 

DAVE.  (C)  I've  been  building  a  house  for  my  wife. 
I  drove  the  last  nail  yesterday,  and  it's  standing  there 
under  the  chestnut  trees  waiting  for  some  one  to  look  at  it 
and  tell  me  where  to  put  things  so's  to  have  'em  handy  for 
the  one  that's  going  to  be  mistress. 

ESM.  (laughingly  and  clinging  to  DAVE'S  hand)  And 
he  never  told  me  a  word  of  it  until  to-day  —  and  it's  so  far 
off  the  road  that  no  one  has  seen  it  —  and  father  knew"  it 
all  the  time,  but  he  never  said  a  word,  (crosses  to  fire 
place,  puts  pail  up  above  it  and  comes  down  a  little) 

MRS.  R.  (looks  pleased)  Oh,  you've  built  a  house. 
Well,  that  shows  you've  got  something  in  you.  What  kind 
of  a  house  is  it? 

DAVE.  Frame,  and  pretty  enough,  too.  Oh,  yes,  it's 
pretty  — 'taint  built  for  me,  you  know  —  a  rough  chap  like 
me  could  get  along  with  any  place.  Lor' —  how  often  I've 
said  that  while  I  was  at  work  on  it.  'Taint  for  you  so 
much,  says  I,  though  maybe  you'll  be  kinder  allowed  round 
if  you  behave  yourself.  (laughs  in  great  enjoyment  of  the 
joke)  'Taint  for  you,  says  I,  but  for  a  creature  with  soft 
ways  —  and  she's  got  to  be  kept  in  mind  —  make  your  stairs 
easy,  I  says,  for  she's  going  up  'em  every  day  —  Heaven  bless 
Rer.  Fix  the  shelves  the  right  height.  Drove  in  one  nail 
last  night  for  a  sunbonnet  to  be  slung  upon  —  a  little  white 
Buntonnet,  and  I  stood  and  looked  at  it  in  the  twilight  until 


ESMERALDA.  H 

I  swear  I  could  see  that  little  bonnet  hang  there.  It  was 
the  last  thing  I  did  to  the  house.  And  there  it  stands  wait 
ing.  And  if  anything  should  happen  to  part  us  —  though, 
thank  God,  nothing  could  —  it  would  stand  there  waiting 
until  it  fell  away  board  from  board,  and  there  wasn't  any 
thing  left  of  it.  (clasps  ESM.  to  his  heart;  laughs) 

(Enter  ROGERS,  followed  ~by  DREW  and  EST.) 

ROGERS,  (up  L)  Oh,  she's  yere  —  an  —  an  so's  Esnter- 
aldy,  an  Dave.  Dave,  he's  yere,  too. 

EST.     (goes  down  R.    MRS.  R.  up  to  front  of  table.    DAVE 
and  ESM.  go  L,  to  chair,  bench.) 

EST.  Yes,  to  be  sure  —  they  are  both  here  apparently  — 
though  of  course  I  only  offer  this  as  an  individual  opinion. 

ROG.  (go  down  L  at  the  side)  (Dejectedly  L  C) 
They're  all  yere.  (DREW  is  down  R  C)  (Drops  helplessly 
on  seat)  An  ye  may  as  well  tell  her.  (Shakes  head)  Oh, 
Lor' — how  it'll  set  her  a  plannin'  an'  a  doin'  an'  a  stirrin' 
things  up. 

ESM.  (going  to  and  kneeling  by  L  of  ROG.,  anxiously) 
Why,  father,  what  is  it?  What  has  happened?  Oh!! 

ROG.  (puts  arm  round  her;  looks  up  at  DAVE  resignedly 
and  nods)  Howdy,  Dave,  howdy.  (to  ESM.)  'Taint 
nothin*  partickler,  honey;  ask  him.  (nodding  towards 
DREW.) 

MRS.  R.  (glances  from  one  to  another  indignantly) 
Don't  make  a  fool  of  yourself,  Elbert.  It's  easy  enough  to 
see  what  the  matter  is.  It's  something  about  the  land, — 
and  it's  nothing  more  than  I've  looked  for,  either.  Haven't 
I  told  you  for  the  last  twenty  years? 

ROG.  (meekly)  Yes,  ye've  told  me,  mother;  but  ye  ain't 
never  told  me  this  pertickler  thing,  (aside)  Lor' — Lor', 
how  it'll  set  agoing. 

DREW.  (R  C.  To  EST.)  Now  you'll  see  how  we  do  it. 
(To  MRS.  R. )  Madame,  allow  me  to  explain. 

(DAVE,  ROGERS  and  ESM.  up  to  window) 

MRS.  R.  (X  over  to  DREW;  working  herself  into  a  rage) 
Oh,  you  can't  tell  me  anything  —  it's  the  land  or  the  taxes 
for  the  land.  It's  been  that  way  ever  since  I  set  foot  on  the 
place.  I'm  tired  of  it. 

DREW.  (R  C)  I  don't  wonder  at  it.  Would  you  sell  it 
cheap  ? 

MRS.  R.    Cheap?    I'd  sell  it  for  almost  nothing. 

DREW.    What  would  you  say  to  five  hundred  dollars? 

MBS.  R.    Will  you  give  that? 


12  ESMERALDA. 

DREW.  I  will,  if  you'll  settle  the  matter  right  up  now,  as 
I'm  in  something  of  a  hurry.  If  you  agree,  I'll  pay  you  the 
money  down ;  if  you  say  no,  that  ends  it. 

MRS.  R.    I'll  do  it. 

(ROGERS  and  ESM.,  who  have  watched  the  whole  affair  icith 
breathless  interest,  are  much  grieved.  Old  man  covers  his 
face  with  his  hands  and  bows  his  head,  DAVE  motionless 
behind  chair  L.) 

DREW.  All  right;  and  if  you  please,  we'll  settle  the 
matter  at  once,  (glancing  R)  The  sun  is  nearly  down 
now,  and  I  must  make  the  train  at  Elizabethville  to-night. 
.Now  —  (drawing  papers  from  pocket)  We'll  just  put  our 
names  to  an  agreement,  and  I'll  give  you  the  cash  or  a  draft 
on  New  York,  whichever  you  please. 

MRS.  R.  Very  well.  Just  step  in  here  (pointing  R) 
where  there's  a  place  to  write.  Come,  (to  ROGERS;  near 
door)  What  is  it  we've  got  to  sign? 

DREW.  (C)  Only  a  sort  of  a  memorandum  —  your 
promise  that  you'll  give  me  a  deed  to  the  land,  that's  all. 
(X  to  D  L)  You  know  I  couldn't  pay  you  the  money  with 
out  some  guarantee.  (R) 

EST.  (R.  Aside)  There's  an  atmosphere  of  State 
prison  about  this. 

MRS.  R.  (L  by  door,  but  above  it.  DREW  L  3  after  EST. 
goes  to  him) 

ROG.  (X  up  to  door  R  of  her)  Mother  —  ye  ain't  really 
—  goin'  ter  sell  the  old  place? 

MRS.  R.    Of  course  I  am,  and  glad  of  the  chance.    Come! 

Roo.     But,  mother 

ESM.     (having  Xed  to  table  C)     Mother 

MRS.  R.    Don't  talk  —  I'm  going  to  do  it.     (exit  L) 

ROG.  (to  ESM.  as  they  follow  her)  I  wish  mother 
wouldn't  be  quite  so  sudden  —  sorter.  ( exit  with  ESM.  1 ) 

(The  setting  sun  throws  a  red  glow  on  DAVE,  who  stands 
motionless.  After  a  moment  he  moves  a  little  uneasily; 
goes  and  looks  off  where  they  have  exeunted.  Troubled) 

DAVE,  (up  L)  There's  something  wrong,  (pause,  medi 
tates)  There's  something  wrong.  (X  to  table.  Stands, 
troubled,  musingly;  suddenly)  Oh,  if  I  only  knew  more. 
(pause,  suddenly  exultant)  But  no  one  can  hurt  Esmeraldy. 
No.  She'll  come  to  the  little  "house  that's  waiting.  I'll  take 
care  of  her.  (pause,  suddenly  downcast  again)  But  the  old 
man?  There's  something  wrong.  He  didn't  look  like  a 
man  that  would  cheat,  but  you  can't  tell,  (shakes  head, 
then  goes  and  looks  in  door)  They're  writing  down  their 
names  now  and  Esmeraldy 's  crying.  Oh  —  (exclamations  of 


ESMERALDA.  13 

unavailing  rage;  paces  restlessly  down)  I've  seen  those 
men  before  —  yes,  I  saw  'em  on  the  hill  over  —  and  —  one  ol 
'em  was  picking  up  stone  and  hammering  pieces  off  the  — 
e  —  there's  ore  on  this  farm  —  am  I  too  late?  (runs  to 
door)  Yes!  (staggers  back)  They  have  signed!  (starts; 
an  idea  occurs  to  him,  opens  door  and  speaks  in)  Would 
you  come  here  a  moment?  (nodding)  You,  sir,  yes.  Could 
you  come  out  here?  I  want  to  see  you.  Quick,  (go  down 
L  Cor.) 

(DREW  appears  at  door  L.) 

DREW.    Did  you  want  to  see  my  friend  ? 
DAVE,      (turning)      If  you'll  please  come  here.     It's  very 
important,  sir. 

(DREW  hesitates  a  moment,  looks  back  through  door;  appar 
ently  satisfied^  comes  quickly  down  R.  DAVE  moves  down 
a  little  and,  without  apparent  effort,  comes  round  between 
DREW  and  the  door.  DREW  stands  and  regards  DAVE  in  a 
little  surprise.  DAVE  looks  calmly  at  DREW;  the  red  of 
the  setting  sun  illuminating  his  face.) 

DREW.     (R  C)     Well,  sir?     (sit) 

DAVE,  (by  door  L.  Quietly)  The  old  man's  a  friend  of 
mine. 

DREW,      (slight  pause)     Oh,  he  is;   glad  to  hear  it. 

DAVE.  He's  as  good  as  a  father  to  me,  and  I'm  going  to 
»ee  that  he's  treated  fair.  r 

DREW,     (quietly)     What  do  you  mean? 

DAVE.  I  don't  mean  anything  but  this.  There's  ore  on 
this  place.  (DREW  makes  a  quick  motion  towards  door. 
DAVE  stands  before  him.  Pause.  They  regard  each  other. 
Quietly)  I  thought  so. 

DREW.  (R  C)  Young  man,  you  are  too  late;  the 
farm  is  Bold.  He  has  signed  a  bond  for  a  deed. 

DAVE,     (C)     Well,  I  recken,  you  haven't  got  it  yet. 

DREWV     That  may  be,  but  I  will  have  it  in  a  moment. 

DAVE.    I  don't  think  so. 

(EsT.  appears  at  door.} 

DREW.  Don't  you?  Oh,  well,  we're  all  apt  to  be  wrong 
once  in  a  while.  Estabrook,  just  get  that  contract  for  me, 
will  you?  Get  it  for  me.  I  want  it. 

(DAVE  starts;  half  turns;  waiting  with  greatest  anxiety.) 

EST.     (looks  at  situation)     Eh? 
DREW     Get  it !  Quick  !    Secure  it ! 
Esy.    51y  dear  fellow,  excuse  me. 


14  ESMERALDA. 

DREW,  (aside)  Confound  it.  (to  DAVE)  Come  now. 
you're  a  man  of  sense.  This  is  simply  a  matter  of  business 
with  me.  The  farm  may  be  worth  a  little  something,  but 
not  so  very  much.  Now  I'm  willing  to  do  the  fair  thing. 
What'll  you  take  to  keep  it  dark  ? 

DAVE.    How  ?    How  do  you  mean  ? 

DREW,  (aside)  They're  coming.  (Esr.  go  to  C  B)  (to 
DAVE;  aloud;  hurriedly)  See  here,  I'll  give  you  a  thousand 
dollars  if  you  won't  say  a  word. 

DAVE.  (pause  of  astonishment;  draws  himself  up) 
What! 

DREW.  ( very  hurriedly )  Here  —  I'll  —  I'll  make  it  five 
— five  thousand  just  to  keep  quiet  half  a  minute. 

DAVE,  (coming  C)  Five  thousand,  (almost  laughs) 
Why,  I  wouldn't  wrong  that  old  man  for  a  million 

(Enter  MRS.  R.  with  bond  in  her  hand,  followed  by  ROGERS 
and  ESM.     They  stop  in  astonishment.) 

DREW,     (desperately)     Ten  thousand. 

DAVE.    No,  sir. 

DREW,  (making  start  towards  MRS.  R.  L,  up)  Then  I 
•warn  you  not  to  interfere.  (DAVE  seizes  DREW.  A  short 
struggle)  Let  me  pass,  young  man. 

MRS.  R.,  ROG.  and  ESM.  Dave  —  Dave  —  what  does  all 
this  mean?  What  is  it?  What's  the  matter?  Oh,  Dave, 
stop,  (seize  bond) 

(DAVE  throws  DREW  off  to  R.     Seizes  bond  out  of  MRS.  R.'s 
hand  L.) 

DAVE.  Nothing,  only  the  land  you  are  going  to  sell  this 
man  is  worth  a  fortune. 

(All  very  much  astonished,  especially  DREW.     ROGERS  and 
ESM.  up  L  C.) 

EST.  (go  down  R  of  chair)  Look  here;  I  say,  Drew,  is 
this  the  way  you  always  do  it? 

DREW.  I'm  fairly  beaten,  (strides  up  to  DAVE  and  holds 
out  hand  cordially)  You're  a  plucky  young  fellow.  Give 
me  your  hand. 

(DAVE,  after  an  instant's  doubt,  seizes  DREW'S  hand.) 

EST.  (R  as  DREW  and  DAVE  grasp  hands)  There's  a 
sort  of  an  atmosphere  about  that  chap  —  don't  you  know  ~- 
a  sort  of  a  —  a 

MRS.  R.     (to  DREW  almost  fiercely)     Is  this  true? 


ESMERALDA.  15 

DREW,  (go  down  L  O,  Xing  to  MRS.  R.  L.  DAVE  goes  to 
EST.)  Madam,  it  is  a  fact  that  there  is  an  iron  drift  on 
your  farm. 

MRS.  R.  (L)  And  you've  been  trying  to  get  it  from  me 
for  nothing. 

DREW.    I  always  buy  as  cheap  as  I  can. 

MRS.  R.    Yes,  I  see  you  do. 

DREW.  Now,  madam,  since  our  former  bargain  is  off,  I 
will  make  you  as  good  an  offer  as  any  one. 

MRS.  R.    What  is  your  offer? 

ROG.  (going  to  MRS.  R.  on  her  L)  Mother,  seems  like 
if  we  could  jest  save  out  the  old  house.  It'd  be  a  heap  o' 
comfort. 

MRS.  R.  (DAVE  X  to  EST.  Xing  to  him  down  L)  Save 
it !  I've  done  with  it  and  everything  that's  gone  along  with 
it.  I've  done  with  it.  Step  this  way,  sir.  (DREW  and  MRS. 
R.  move  towards  door  L)  I'd  as  soon  sell  to  you  as  any 
one,  but  this  time  I'll  see  that  you  don't  get  the  best  of  me. 
I'll  sell  you  only  a  part  of  it  and  you  may^work  it  on  shares. 
(turning  at  door)  Dave,  I  wish  to  speak  with  you. 

(Exit  with  DREW.  DAVE  leaves  EST.  and  follows  MRS.  R. 
out,  ROGERS  having  watched  MRS.  R.  out,  goes  and  takes 
hold  of  EST.'S  sleeve.) 

ROGERS.  (L  of  EST.,  who  is  R)  Mother,  ye  know. 
'(motions  toward  door) 

'  EST.     (R  by  chair.    ESM.  go  near  door  L,  look  off)     Yes, 
I  know. 

ROG.  She  —  she's  pow'rful  high  spereted,  an'  you  know 
how  high  spereted  people  is.  Ef  —  ef  ye  could  do  anything 
about  gettin'  him  ter  leave  the  house  standin';  not  ter  pull 
it  down,  it  'ud  be  a  heap  o'  comfort  ter  us  —  me  and  Esmer- 
aldy  —  a  heap  of  comfort. 

ESM.  She  won't  let  us  do  it,  father  —  she's  going  to  take 
us  away  from  it  and  from  everything. 

EST.  Yes.  Now  I'll  see  what  I  can  do.  Don't  be  so  blue 
about  it,  you  know.  Make  hay  while  the  —  no  —  all's  well 
that  ends  well  —  and  I  dare  say  something  can  be  done. 

ROG.  (hurriedly  and  nervously)  Ef  ye'd  jest  let  it  stand 
awhile  —  maybe  I  could  kinder  save  up  myself  —  by  little 
—  ter  pay  fer  it.  Lor',  ye  don't  know  what  a  comfort  it'd 
be  ter  know  it  was  a-standin'  yere.  Seems  ter  me  like  it's 
been  yere  so  long  that  the  very  mountain  'ud  kinder  miss  it. 

EST.  (aside)  By  Jove  —  if  a  man  was  going  to  write  a 
novel —  (in  a  tone  of  discovery)  Why,  this  is  pathos  — 
(takes  old  man's  hand.  Aloud)  Mr.  Rogers,  it  shall  stand 
here  if  I  have  to  buy  it  out  myself  —  I  will  buy  it  out  my 
self  —  I'd  rather  buy  it  out  myself. 


16  iSSMERALDA. 

ROG.  Will  yef  Lor' — will  yet  Esmeraldy,  lie's  agoin1 
to  keep  it  fer  us.  Come  yere. 

ESM.  (advances  almost  eagerly,  X  to  EST.)  You  —  are 
Very  kind  to  us. 

ROG.    Yes — -ye  be  —  ye  be! 

ESM.    We  can't  thank  you,  but  if  you  knew 

EST.  (Xing  to  and  taking  her  hand)  Yes,  but  I  do 
know.  Don't  thank  me.  It's  nothing.  (Xes  and  takes  old 
man's  hand,  icho  is  L)  Good  evening,  (goes  up  to  door; 
pauses  as  if  struck  with  an  idea)  The  atmosphere  is  get 
ting  misty. 

(Old  man  sits  down  dejected  L.     A  moment's  silence.  ESM. 
moves  slowly  toward  spinning  wheel  up  R.) 

ROG.    Well,  honey,  I  reckon  it's  got  to  be. 

ESM.  Yes,  father,  she's  made  up  her  mind,  and  we  know 
What  that  is. 

ROG.  We'4  orter,  Esmeraldy,  we  orter.  I'd  be  willin' 
ter  do  anything  ter  satisfy  her  —  her  as  I've  sworn  never 
ier  go  back  on  —  ef  she  wouldn't  give  up  the  old  place.  We 
;ould  hev  things  more  showier  an'  stylisher  —  I  reckon  we'd 
orter  hev  em  so  —  an'  I'm  willin'.  Say,  a  flowery  paper, 
or  a  set  of  chairs  an'  things  with  red  seats  to  'em.  Or  a 
cupoly  put  on  the  house  or  a  coat  of  yaller  paint,  or  a  orgin 
or  a  pianny  or  any  thing.  Lor',  how  willin'  I'd  be  ter  try  an' 
ijnjoy  'em,  so's  we  needn't  ter  go  away. 

(Old  man  sinks  into  a  reverie.  ESM.  stands  "behind  him  a 
moment  endeavoring  to  conceal  her  emotion.  At  last 
turns  as  if  to  go  to  wheel  again,  when  ROG.  looks  up  and 
holds  out  his  hand  to  her.  She  stops  and  stands  perfectly 
still.) 

Don't  cry,  honey.    Come  yere. 

(EsM.  turns,  they  look  at  each  other  a  moment;  she  sees 
that  he  understands  and  impulsively  throws  herself  down 
at  his  side  and  sobs  on  his  breast.  ROG.  stroking  her 
hand  and  caressing  her  gently.) 

Thar  now,  don't  you  take  it  like  thet,  honey,  don't  ye, 
dear.  Thar  —  thar . 

ESM.  (trying  to  brush  away  tears)  Oh  forgive  me, 
father  —  I'm  making  it  harder  for  you.  I  oughn't  to  be 
thinking  about  myself,  but  I  can't  help  it,  somehow.  She 
—  she'll  take  me  away  from  him  —  and  the  little  house  will 
stand  empty.  I  shall  never  see  it. 

ROG.  Thar  —  thar  —  honey  —  don't  ye  believe  it.  She 
can't  be  hard  enough  fer  that. 


ESMERALDA.  17 

ESM.  She'll  do  it,  if  it  breaks  our  hearts.  I've  felt  it 
since  the  first  moment.  She  —  (an  outburst  of  grief)  She 
has  been  cruel  to  me  all  my  life,  and  she'll  be  cruel  to  me 
now. 

Roa.     (tenderly)     Don't  ye,  honey,  don't  ye. 

ESM.  (passionately)  Did  she  ever  spare  me?  Did  she 
ever  spare  you '(  Hasn't  she  been  against  him  always  ?  It's 
all  over,  father.  It's  all  over,  father,  (face  down  on  his 
breast ) 

MRS.  R.  (outside  door  L)  I  shall  go  to  Lizabethville 
to-morrow,  and  then  I  can  let  you  know.  Dave  will  show 
you  the  road.  Good  night. 

DREW.    Good  night. 

ESM.    She's  coming. 

(EsM.  rises  and  goes  to  wheel  up  stage.    MBS.  R.  enters  L. 
&he  stops  and  looks  at  ESM.) 

MRS.  R.  What  are  you  there  for?  There's  no  need  of 
your  touching  that  again.  You've  done  with  it.  (Xing 
down  R.) 

Roo.  (L)  'Twon't  hurt,  mother,  an'  it  kinder  ocypies 
her  thoughts. 

MRS.  R.  She's  got  plenty  to  occupy  her  thoughts.  Here 
she  is  going  to  be  a  lady  —  with  all  the«  world  before  her. 
I  shouldn't  have  slept  a  wink  for  happiness  if  such  luck 
had  come  to  me.  (X  to  C  and  up) 

ROG.  (deprecatingly)  But  ye  know  we  ain't  all  on  us 
alike,  mother  —  an'  Esmer^ldy  —  she  —  she  ain't  alike. 

MRS.  R.  (up  stage  C)  I  know  what  it  is.  But  one 
thing  is  certain.  She's  got  to  give  up  all  that  nonsense 
about  Dave  Hardy. 

(EsM.  at  fire-place.) 

ROG.    Now,  mother. 

(EsM.  buries  her  face  in  her  hands.) 

MRS.  R.  (turning)  He's  done  something  for  us  about 
selling  the  land,  and  I'll  see  that  he's  paid;  but  I  should  be 
a  fool  to  let  him  spoil  everything  right  on  the  spot. 

ROG.  (after  a  pause)  It'll  kinder  go  hard  with  him, 
mother.  You  know  thet. 

(Enter  DAVE  L,  looks  around  bewildered  at  ESM.  leaning  on 
wheel  and  crying.  ROG.  broken  down,  and  MKS.  R.  stand 
ing  stonily  looking  at  him.) 

DAVE.  Why,  old  man!  Esmeraldy.  (starting  towards 
Tier) 


18  ESMERALDA. 

MBS.  R.  (stepping  down,  motioning  him  away,  lack) 
Stop  where  you  are. 

DAVE,  (glances  around,  X  to  E,  down)  What  has  hap 
pened  here? 

Mns.  R.  (sardonically)  Nothing  has  happened  here. 
We've  come  into  a  fortune  and  have  city  life  and  all  we 
Want  before  us,  and  this  is  the  way  we  enjoy  it. 

DAVE.  But  something's  gone  wrong,  Esmeraldy.  (starts 
towards  her  again  and  is  again  repulsed  by  MBS.  R.) 

MBS.  R.  (motions  DAVE  bade)  You  may  as  well  have  it 
BOW  as  later.  You've  heard  what  I  said  about  the  life  we've 
lived  ? 

DAVE,  (after  a  pause,  slowly  realising  tlie  truth)  You 
said,  you'd  done  with  it! 

MBS.  R.  So  I  did.  I've  done  with  it,  and  so  has  she,  and 
with  everything  that  belonged  to  it. 

DAVE,  (staggers  back  a  little,  looks  blankly  at  MBS.  R. 
and  then  at  ESM.  And  —  I  —  belonged  to  it!! 

MBS.  R.  And  we've  done  with  you.    (Pause.) 

DAVE.     My  God!    (quickly  covering  his  face.) 

ESM.    Dave ! ! 

(MRS.  R.  gestures  silence  to  ESM.    DAVE  soon  recovers  him 
self,  seems  to  decide  on  something.) 

DAVE,  (turning  to  ESM.)  Esmeraldy,  this  ain't  —  you 
ain't  nothing  to  do  witli  this?  (sorrowfully)  I  ain't  no 
cause  to  ask  it.  • 

ESM.    There's  no  need,  Dave. 

DAVE.     Nor  you,  old  man,  have  you?      (Xing  to  G  R) 

Roc.     Lor'  —  no  —  boy  —  HO. 

DAVE.     Very  well,  then. 

(G    turning    to    ESM.,    MBS.    R.    vainly    interposing,    takes 
ESM.'S  hand  in  his  and  brings  her  forward.) 

DAVE.     (G)     Here  we  stand. 

MBS.  R.  (R.  Recovering  herself  from  her  astonishment 
at  being  thrust  aside)  What  do  you  mean? 

DAVE.  (G.  Turning  to  her)  Do  I  look  like  a  fellow 
that  means  nothing!  Do  I  look  like  a  chap  that  means 
to  give  up  what's  been  trusted  to  him,  or  like  a  man  that'll 
stand  by  what  he  ioves  and  lives  for? 

MRS.  R.  (R.  After  pause)  You  mean  that  you  are  going 
to  take  her? 

DAVE.    Yes,  ma'am,  that's  what  I  mean. 

ROG.  (seated  L.  Aside,  tremulously)  He's  —  he's  stand- 
in'  up  agin  mother !  1 


ESMERALDA.  19 

(MRS.  R.  stands  in  amazement  for  a  few  seconds;  suppressed 
indignation;  she  suddenly  starts  and  icalks  up  and  down 
L  C.) 

MRS.  R.  (confronting  DAVE)  You  mean  what  you  say? 
So  do  I.  And  I've  got  two  or  three  questions  to  ask  you. 
(pointing  to  ESM.)  How  old  is  she? 

ROG.  (L)  She  ain't  but  eighteen,  poor  child;  she's  young 
and  tender. 

MRS.  R.  (L  C)  She  ain't  but  eighteen,  and  how  much 
has  she  seen  of  the  world  and  other  men?  (pause.  DAVE 
looks  doicn)  Has  she  seen  anything? 

DAVE.      (C)     No,  she  hain't  seen  anything. 

MRS.  R.  And  are  you  so  foolish  to  think  that  if  she's 
seen  other  men,  handsomer  and  better  educated  and  richer, 
she'd  have  chosen  you?  (DAVE  startled,  looks  blankly  before 
him) 

ESM.     (by  fireplace)     Dave,  don't  listen  to  her. 

MRS.  R.  He  will  listen  to  me  because  he*  knows  I'm 
right. 

DAVE.  (staggers  back)  Esmeralda,  I  ain't  mistrusting 
you,  but  she's  spoke  true  for  once.  What  am  I,  to  come 
against  men  like  that? 

ESM.    You  are  the  man  I  love. 

(WARN  CURTAIN.) 

MRS.  R.  Are  you  the  man  to  stand  in  her  way  —  to  rob 
her  of  what  she  might  have? 

DAVE.  No  —  no  —  that  ain't  me  —  I  —  I  love  her. 
(passes  her  to  L,  she  goes  to  fireplace) 

MRS.  R.  If  you  keep  her  from  what  she  might  have,  don't 
you  rob  her?  If  you  compel  her  to  stay  here  when  she 
might  see  the  world  and  live  in  gay  places,  don't  you  rob 
her?  She  can  be  a  lady.  You  wouldn't  know  her  after  a 
year  in  the  city  —  with  money  spent  on  her  —  an'  she 
wouldn't  know  you.  What  would  you  do  with  a  lady  in  the 
little  house  you've  built?  . 

ESM.    Oh  Dave,  the  little  house  I've  never  seen. 

DAVE.     What  shall  I  do?  —  old  man,  is  this  true? 

MRS.  R.  He  knows  it's  true  and  so  does  she  —  and  so  do 
you. 

KSM.    Mother! 

DAVE.  Esmeralda!  (pause)  I  don't  believe  it.  (starts 
toicard  ESM.  MRS.  R.  stops  him) 

MRS.  R.  Take  her  if  you're  the  man  to  ruin  her  life  for 
her  as  mine's  been  ruined  for  me. 

DAVE.     Oh!!     Oh  —  this  is  hard  —  hard. 

ROG.  (aside  in  despair)  I  knowed  it  —  I  knowed  he 
couldn't  stand  up  agin  mother. 


20  ESMERALDA. 

MRS.  R.  If  you  act  like  a  man  now,  she'll  always  re 
member  it  of  you.  If  you  stand  in  her  way  —  look  that  the 
time  doesn't  come  when  she'll  remember  that. 

DAVE,     (startling)     Oh! 

ESM.     Don't  believe  her,  Dave. 

DAVE.     What  —  shall  I  do? 

MRS.  R.  (grimly  and  fiercely)  If  you  love  her  —  show  it. 
Here's  your  chance. 

DAVE.  Old  man,  is  she  right?  (Roa.  about  to  speak; 
MRS.  R.  turns  on  him.  His  head  drops.  Despairingly) 
There's  one  thing  I  can  do,  I  can  wait.  She  can  be  as  true 
to  me  away  as  if  I  held  her  in  my  arms  every  day.  And  — 
if  the  end's  what  it  might  be  —  I  shall  know  I've  done  her 
.no  wrong  and  acted  a  man's  part,  (turns  to  ESM.)  Esmer- 
alda 

ESM.     (R)     Dave  —  Dave 

(MRS.  R.  steps  between  them.    DAVE  covers  face  with  hands, 
staggers  to  door  and  turns.    L  C.) 

DAVE.  It's  not  the  end  —  I  don't  believe  it.  True  hearts 
can't  be  parted  by  things  like  this  —  but  for  a  little  while. 
Good  bye  —  good  bye. 

ROG.    Mother  let  me  call  him  back,     (pause.    Exit  L  F.) 

(MRS.  R.  moves  in  front  of  door  and  stands  with  her  back 

against  it.    ROGERS  Xes  R.) 

ESM.  (looking  up,  runs  toward  door  L  C  calling)  Dave 
• — Dave  —  (stops  before  MRS.  R.  and  turns  in  despair  behind 
ermchair  —  utters  cry  of  despair) 

ROG.  (R  C  tremblingly  holding  out  his  arms)  Esmeraldy, 
come  yere. 

(EsM.  falls  upon  his  breast.) 
CURTAIN. 


END  OF  ACT  I. 


ACT  IT. 

SCENE. — Studio.     Easel  up   R   C  —  small   table   for  pcrint 

above  to  R  of  it.     Table  down  L  bowl  on  it.     Table  down 

R.    Window  C.    D  R  3-D  L  3  — Cupboard  R  2.    Fire 
place  R  2. 
.DISCOVERED. —  NORA  and  KATE  in  pretty,  quaint  costumes. 

NORA  up  C  at  easel;  KATE  left  at  table.    KATE  decorating 

large  punch  boicl.    NORA  painting  panel. 

NORA,  (at  easel  up  R  C)  And  when  I  called,  Mrs. 
Kogers  showed  me  a  new  photograph  of  Esmeralda.  (speaks 
with  little  pauses,  occasionally  stopping  to  look  at  panel 
vnd  make  little  dabs)  Just  think  of  it.  Another. 

KATE,  (down  L  at  icork  on  punch  bowl)  And  I  suppose 
in  another  dress.  That  is  eighteen  times  since  we've  known 
her,  and  we've  known  her  only  two  months. 

NORA.  Poor  Esmeralda.  Well,  I  must  say  if  all  mothers 
tire  like  Mrs.  Rogers  I  am  not  so  awfully  sorry  we  are 
orphans,  and  Jack  had  to  bring  us  up  among  the  paint 
brushes  in  his  studio.  Are  you  ? 

KATE,  (looking  critically  at  punch  bowl)  No.  It's  per 
haps  a  trifle  severe  on  Jack,  though. 

NORA.  At  all  events  we  are  not  obliged  to  have  our 
photographs  taken  every  twenty-four  hours,  and  we're  not 
dragged  around  after  marquises. 

KATE.  Marquises,  indeed,  Nora,  if  there  ever  was  a 
reptile 

NORA.    Yes,  if  ever  there  was  a  reptile,  it  is  that  man. 

KATE.  And  to  think  of  that  sweet,  innocent  little  Esmer 
alda  being  made  miserable  by  him. 

NORA.  (indignantly)  And  to  think  of  that  utterly 
stupid  Mrs.  Rogers  being  deceived  by  a  title  which  doesn't 
even  mean  that  he  is  respectable. 

KATE.  Respectable!  It  makes  him  all  the  worse.  He 
ought  to  be  a  gentleman  and  he  isn't.  (Gets  up,  Xes  R 
goes  to  table  rather  behind  easel  for  some  paints.  Voice 
of  servant  outside,  "  This  way,  Sir." )  Gracious,  Nora, 
somebody's  coming  and  here  we  are  covered  with  paint. 

NORA.  (hurriedly)  Never  mind.  We  can  be  awfully 
busy  and  keep  our  backs  to  him.  (they  turn  backs) 

MAID,     (entering)     Monsieur  will  be  in  presently.    Will 
21 


22  ESMERALDA. 

you  be  seated!  (enter  ESTABROOK  door  L  8  sees  NORA  who 
keeps  her  back  towards  him  and  affects  to  be  occupied) 

EST.  (aside)  Aesthetic  female  artist  with  rather  satis 
factory  back.  Wonder  if  face  is  as  satisfactory,  (sits, 
picks  up  book;  NORA  looks  furtively  but  only  sees  his  back; 
he  moves  and  she  turns  quickly.  He  looks  at  her  again) 
Rather  tantalizing  upon  the  whole.  I  wonder  if  the  pur 
suit  of  art  necessitates  such  extreme  devotion  to  one's  sub 
ject,  (looks  at  punch  bowl;  while  he  does  so  NORA  looks 
again  and  seems  struck  with  some  new  thought;  makes  a 
half  step)  (aside)  What  delightful  diabolical  decora 
tions!  I  wonder  if  she  did  them.  I'll  look  again  and  see 
if  it's  possible  ( looks  again,  NORA  is  looking  too  and  starts 
forward  with  exclamation) 

NORA.     (C)     Mr.  Estabrook! 

KATE.     (R  at  back)     What? 

NORA.     Only  imagine  it  being  you. 

EST.  (coolly  with  somewhat  bewildered  air)  I  can't. 
If  a  man  is  going  to  imagine  a  thing  he  had  better  begin 
with  something  less  complicated. 

KATE,     (coming  down  a  little  R)     It  is. 

NORA,     (down  C)     Of  course  it  is. 

EST.  I  will  not  deny  it,  though  I  feel  it  to  be  greatly 
against  me.  (aside)  The  front  view  is  entirely  satisfac 
tory,  (aloud)  It  was  very  charming  in  you  to  recognize 
me.  I  was  rather  afraid  you  had  forgotten,  (coming  to  L 
of  NORA.) 

KATE.     (R  —  aside)     He  doesn't  know  her  at  all. 

NORA.  (C)  Of  course  not,  though  it  is  ten  years  since  w« 
saw  you  last. 

EST.    It  seems  much  longer  —  to  me. 

NORA.  It  is  so  long  that  I  thought  it  was  possible  you 
had  forgotten.  .  • 

EST.  (L  C)  Oh,  not  at  all  —  far  from  it.  Don't  say  that, 
I  beg.  Won't  you  sit  down  ?  (indicating  chair  L) 

NORA.  (Xing  to  L  and  sitting  carelessly  as  she  takes 
chair)  Then  it  is  entirely  unnecessary  for  me  to  mention 
that  I  am  Nora  Desmond. 

EST.  (C)  What!  Nora!  Jack's  sister  —  little  Nora. 
(falls  back  to  look  at  her.) 

NORA.  (L)  Oh,  it  takes  the  form  of  a  sudden  revelation, 
does  it  ?  Then  you  did  not  know  me  ? 

EST.  Really  —  oh  —  of  course  I  know  you.  But  — 
(looks  at  her  again)  don't  impose  on  a  too  confiding  nature. 
It  is  impossible.  Excuse  me.  You  must  be  mistaken. 
Little  Nora ! 

NORA.  Excuse  me.  I  have  grown  since  then.  I  have  had 
time  to  in  ten  years,  and  I  have  given  a  good  deal  of  atten 
tion  to  it. 


ESMERALDA.  23 

EST.  But  it's  out  of  the  question.  I  used  to  kiss  little 
Nora  —  I  distinctly  remember  it. 

KATE,  (down  R,  other  side  talcing  his  arm)  Perhaps 
you  remember 

EST.  Oh,  but  look  here;  this  is  a  little  like  nitro-gylcer- 
ine,  you  know. 

KATE,      (calmly)     Nora,  we  are  like  nitro-glycerine. 

NORA.     (L)      I  never  heard  it  mentioned  before. 

EST.     (takes  KATE'S  hand)     And  this? 

KATE.    Guess. 

EST.    Is  Kate? 

KATE.  I  won't  insist  on  it.  You  know  I  was  always 
more  accommodating  than  Nora. 

EST.  And  this  is  Nora,  (takes  her  hand)  Allow  me  to 
congratulate  you  —  you  must  find  it  extremely  satisfactory. 

KATE.     She  does,  extremely. 

EST.  The  last  time  I  saw  you  you  were  little  girls,  wore 
long  hair  and  short  dresses  and  paint  on  your  aprons. 

NORA.  I  wear  paint  on  them  now.  (points  to  little 
stains.) 

KATE.  But  it  is  because  she  is  a  horny-handed  daughter 
of  toil,  and  paints  little  panels  very  badly  and  sells  them 
very  well  to  unsuspecting  people. 

NORA.  Yes,  I  haven't  any  talent  or  little  things  of  that 
sort,  but  I  am  very  successful  when  you  come  to  decorative 
art. 

EST.     (to  KATE)     And  you? 

KATE.  I  decorate  teacups  and  punch  bowls  (points 
to  bowl.  Xing  back  of  NORA  to  table  L)  as  per  example. 

EST.     Perfectly  utter!     And  Jack? 

NORA.  He  paints  just  as  well,  and  wears  his  coat  just  as 
shabby  as  ever.  He  is  painting  now  a  portrait  of  an  Ameri 
can  girl,  a  Miss  Rogers. 

EST.  (rather  excited)  Miss  Rogers  —  an  American — • 
not  —  not  from  North  Carolina? 

NORA  and  KATE,     (together)     Yes. 

EST.    And  her  name  is 

BOTH  GIRLS.    Esmeralda. 

EST.  (exclamatory.  Takes  stage  R)  Then  I  have 
actually  found  them. 

NORA.     Were  you  looking  for  them? 

EST.  Looking  for  them  ?  I  never  was  so  given  over  body 
and  soul  to  the  pursuit  of  people  in  my  life,  I  wouldn't 
miss  being  on  the  ground  with  Mrs.  Rogers  for  the  next  few 
months  for  a  (sits  at  table  R  C) 

NORA.     You  might  say  ducal  coronet. 

EST.  I  will  (looks  at  her  admiringly)  Ducal  coronet 
does  seem  to  meet  the  exigencies  of  the  situation. 


24  ESMERALDA. 

NORA.    And  it  is  Mrs.  Rogers  you  want  to  see? 

KATE.    She's  worth  seeing. 

EST.  It  is  all  of  them,  but  Mrs.  Rogers  beyond  all  else 
on  earth,  (quite  admiringly)  What  a  finished  feminine 
fiend  that  woman  is.  But  I  have  a  letter  in  my  pocket 
which (pause) 

NORA  and  KATE.     A  letter  which 

EST.  Yes,  a  letter  which —  (sudden  pause)  But  tell 
me  what  they  are  doing. 

NORA.  Doing?  If  you  mean  Mrs.  Rogers,  she  is  making 
a  vicious  old  spectacle  of  herself;  but  if  you  mean  poor  Es- 
meralda  and  her  father,  they  are  breaking  their  hearts. 
They  are  dragged  out  night  after  night  to  parties  where 
they  know  nobody  —  they  are  paraded  and  dressed • 

KATE,  (by  table  L)  Oh,  if  you  could  only  see  Mr. 
Rogers  at  a  party,  sitting  against  a  wall,  wondering  at  hia 
gloves.  He  can't  speak  a  word  of  French. 

NORA,  (seated  L  C)  He  c^i't  even  speak  English,  dear 
gentle  old  man;  and  people  laugh  and  stare  at  him,  but  he 
dare  not  go  home  until  Mrs.  Rogers  gives  him  permission. 

EST.    And  the  poor  girl. 

NORA.  That  is  the  worst  of  all.  Her  mother  has  set  her 
mind  upon  marrying  Esmeralda  to  a  certain  Marquis  and 
makes  her  life  a  torture.  Ah  —  ( clinching  hand )  I  wish 
I  could  change  places  with  her  for  an  hour  —  just  one  hour. 

EST.  (retreating  slightly)  Do  you  know  I  don't  think  it 
would  take  an  hour,  (changing  tone)  But,  as  I  said  be 
fore,  I  have  in  my  pocket 

NORA,     (eagerly)     Oh,  yes. 

(Enter  DESMOND  R,  sees  EST.) 

KATE.    Here's  Jack! 

DES.    I  say! 

EST.     (R)     So  do  I. 

DES.  (dashing  forward  C)  Look  here.  How  are  you? 
(Shak(&  hands  enthusiastically)  Is  it  you,  old  fellow  ? 

EST.     (R)  Certainty  not. 

DES.  Well,  how  are  you  and  that  sort  of  thing.  You're 
the  very  man  I  was  thinking  of  a  moment  ago. 

EST.    Delighted  to  hear  it,  but  why? 

DES.  Because  I've  run  across  something  new  in  simplicity 
and  situation  —  and  material. 

EST.     Where  ? 

DES.  I'll  tell  you  —  you'd  like  it,  old  fellow.  There's  an 
atmosphere  about  it  and  all  that  sort  of  thing.  Nora,  it's 
our  guileless  countryman.  I've  seen  him  again. 

NORA.      (L)      Have  you  really? 

KATE.    Oh,  where?    What  was  he  doing? 


ESMERALDA.  35 

DES.  Looking  sad  and  lonely  as  usual,  and  I've  not  only 
seen  \  t  spoken  to  him. 

NOR  ...  Spoken  to  him!  What  did  he  say?  I  must  tell 
you  about  him,  Mr.  Estabrook.  We  saw  him  about  a  month 
ago  sitting  on  one  of  the  seats  in  the  Champs  Elysees  and 
looking  so  sad.  There  was  something  in  his  face  that  went 
to  my  heart.  Do  tell  us  what  he  said$  Jack? 

DES.  Well,  you  know  we  have  seen  him  several  times 
and  each  time  he  has  looked  sadder  and  wearier.  He  has 
been  Nora's  chief  topic  of  conversation.  She  wanted  to 
find  out  if  he  was  poor  and  to  give  him  all  her  money  if  he 
was.  She  got  fifty  francs  for  a  panel  last  month. 

NORA.     Oh,  Jack,  do  go  on. 

EST.  (with  a  quiet  but  increased  interest)  Yes,  go  on. 
(sits  R) 

DES.  Well,  I  saw  him  on  the  Champs  Elysees  again  and 
I  went  and  sat  by  him  and  suddenly  —  guess  what  hap 
pened? 

N.  &  K.     (excited)     What? 

DES.  The  Rogerses  passed  with  the  Marquis  in  their 
carriage  and 

EST.  And  he  turned  and  asked  you  something  about 
them? 

DES.     (amazed)     Yea.     How  did  you  know? 

EST.    I  knew  it.     Thank  you.     Now  I've  found  him. 

N.  K.  &  D.    You've  found  him. 

EST.    Yes.    I've  a  letter  in  my  pocket  which 

NORA.  (rising  —  frantically)  Oh,  yes.  The  letter 
which Oh,  do  tell  us. 

EST.    I  will,  but (to  JACK)     Tell  me  what  he  said 

and  what  you  found  out. 

DES.  (C)  He  said,  "Sir,  those  people  —  do  you  know 
anything  of  them  ?  "  I  answered,  "  Yes,  I  do."  And  he  said, 
trembling  and  pale:  "And  the  gentleman  with  them,  is  he 
going  to  marry  the  young  lady?"  And  I  answered 

NORA.      (breaking  in   and  stamping   her  foot;   clinching 

hand)     No,  No,  No Didn't  you  say  no?     Jack,  didn't 

you  —  didn't  you  ? 

DES.  (R  C  —  aghast)  No  —  I  —  I  said  I'd  heard  he 
was.  (KATE  returns  to  chair  L) 

NORA,  (throws  herself  into  chair  also  L)  You,  you 
stupid.  Why  didn't  you  say  he  wasn't? 

KATE.     And  shouldn't. 

NORA,  (striking  fist  on  table)  And  you'd  kill  him  be' 
fore  he  should. 

EST.      (rising)      Miss   Desmond,   Miss   Kate,   my   climax 

has   arrived.      I   have   a    letter    in    my    pocket   which • 

(crosses  to  C) 

NORA,     (starting)     Which Which Which! 


26  ESMERALDA. 

EST.  Which  will  floor  this  Marquis  so  completely  that 
he  will  forget  where  his  marquisate  is  and  wondef  why 
he  was  born,  (takes  out  letter) 

NORA.     Mr.  Estabrook,  if  you  don't  read  it 

EST.  (waves  hand)  Miss  Desmond,  I  will.  (NoRA  and 
KATE  lean  forward  in  chairs.  Intent  and  excited.  Reads) 
My  dear  Estabrook  r  You  remember  the  Rogerses'  farm  on 
which  I  thought  I  had  made  such  a  find  when  you  were  with 
me.  It  turns  out  to  be  a  dead  failure.  The  vein  of  ore  haa 
given  out,  the  people  are  penniless,  and  I  am  defrauded. 
You  remember  the  lover  the  old  woman  treated  so  badly  — 
she  took  her  daughter  away  from  him  without  giving  him 
even  a  chance  to  say  good-bye;  and  it  is  in  this  lover's  farm 
the  ore  now  appears  in  apparently  tremendous  quantities; 
and  not  only  in  his  farm  but  in  one  adjoining  which  has 
just  been  left  him  by  a  relative.  The  man  will  be  a  mil 
lionaire. 

NORA,  (breaks  in  icildly)  And  this  poor  fellow  of  mine 
is  the  lover.  I  know  it.  I  know  it. 

EST.  Miss  Desmond,  control  your  emotions.  (reads) 
Naturally  the  next  move  is  to  see  the  man  and  the  man  is 
not  to  be  found.  The  story  goes  that  he  scraped  together 
every  cent  he  could  and  followed  the  girl  to  Paris  and  is 
probably  starving  there  in  a  garret.  There  is  no  time  to 
be  lost.  If  you  can  find  him  and  cable  to  me  you  will  do 
me  a  tremendous  service.  Find  him  for  her  sake,  for  his 
sake  and  for  the  sake  of  the  demoniac  old  dragon  who  is 
paid  out  in  her  own  coin.  (DBS.  goes  to  easel.  Folds  let 
ter)  The  r^st  is  only  business.  "  George  Drew." 

NOKA.     (rising  L  C)     Let  me  go  and  find  him  this  minute. 

KATE.  (rising  and  going  behind  table)  This  instant, 
Nora.  Put  on  your  bonnet. 

EST.     Do  you  chance  to  know  where  he  is? 

DBS.  (go  down  R)  Yes.  I  hadn't  finished  my  story. 
He  is  coming  here  and  may  be  in  at  any  moment. 

NORA.    Why  ? 

DES.  Because  it  struck  me  he  was  hungry  and  I  thought 
a  good  way  of  giving  him  money  would  be  to  pretend  I 
wanted  him  for  a  model,  and  then  ask  him  to  dinner  when 
he  came.  ^ 

NORA,  (crossing  EST.  dashes  into  JACK'S  arms  and  kisses 
him )  Jack,  I  love  you. 

(KATE  go  to  easel.) 

EST.    (starting)      Miss  Desmond  —  so  —  so  —  so 

KATE,      (over  by  easel,  back  of  it)      Suppose  he  should 

come  when  the  Rogerses  are  here.     You  know  Esmeralda  is 

coming  for  her  sitting. 


ESMERALDA.  %y 

EST.  (L)  If  they  come  here  before  he  does,  I  swear  you 
to  secrecy.  Let  him  be  the  one  to  tell  them  what  has 
happened,  (crosses  to  R  Cor) 

NORA.  (C)  Certainly  —  and  some  one  is  coming  now. 
Mr.  Rogers 

(Enter  old  man    (ROGERS)    meekly  —  NORA  runs  to  meet 
him.) 

NORA.    Mr.  Rogers,  I'm  so  glad  to  see  you. 

ROG.  (taking  both  her  hands  and  shaking  them  up  and 

down )  Thank  you,  honey  —  thank  ye •  Bong  —  bong 

What  is  it  I  have  to  say,  Miss  Nory? 

NORA.      (C)     Bon  jour. 

ROG.  (L  C)  That's  it.  Bong  jore I'm  a-trying  to 

git  it,  but  it  goes  sorter  hard  with  me.  Bong  jore.  I 
come  to  tell  ye's  Esmeraldy  can't  come  because  she's  a-gone 
out  with  the  Markis  and  I  haven't  got  a  minit  to  stay. 
( turns  to  speak  to  DES.  and  sees  EST.  ;  breaks  off,  rushes  to 
him  and  catches  his  hands,  shaking  them  violently ;  in  R 

Cor)  Lor' — Lor!  I  seed  ye  last  in  North  Ca'liny 

I  seed  ye  last  in  North  Ca'liny.  (emotion  almost  over- 
poicers  him) 

(KATE  R  of  and  below  easel.    NORA  with  her.    DES.  go  to 
and  work  at  easel.) 

EST.  (R  C)  So  you  did,'  Mr.  Rogers,  so  you  did,  and  I 
left  them  all  well  there.  Sit  down  and  let  me  tell  you  all 
about  it.  (hand  kindly  on  shoulder,  leads  him  to  seat  L) 

ROG.  (trying  to  recover  himself)  I  haven't  got  hardly 
a  minit  to  stay.  Mother,  she'd  just  rear  if  I  didn't  take  her 
to  the  Boys. 

EST.     (C)     The  Boys? 

ROG.  (seated  L  —  innocently)  The  Boys  de  Bolony. 
(breaks  off  nervously)  Lor',  Lor',  how  glad  I  am  to  see 
you.  (takes  him  by  lapel  of  coat)  Seems  like  ye  was  right 
from  under  the  shadder  of  Old  Bald,  (to  the  rest)  Ye 
mustn't  mind  if  I  kinder  let  everything  else  go  fur  a 
moment  to  talk  to  him. 

NORA.      (R  C  up  stage;  DES.  at  easel)      No,  no.     Go  on. 

ROG.  Seems  like  it  was  old  times  and  all  this  yere  trou 
ble,  (checks  himself)  Ahem!  I  reckin  ye've  heard  how 
we  been  enjoying  ourselves. 

EST.  I've  heard  something  of  it.  What  have  you  been 
doing  principally? 

ROG.  (looks  at  him  reflectingly  and  shakes  head)  Lor', 
Lor' — how  ye  do  remind  me  of  Old  Bald.  Ah!  We've 


28  ESMERALDA. 

been  doing  a  sight.     Lor' — we've  bin  gay.     (groans)     We've 
been  gay. 

EST.    In  what  way  for  instance? 

Roo.     We've  been  goin'  round  to  dressmakers  —  an' — an' 

—  dry  goods  stores,  an'  tradin'  kinder  wild  —  an'  a-goin'  to 
ball  dances  an'  theatres  an  operys  and  gallerys  full  of  ile 
paintin's  —  an'  a-goin'  'em  day  and  night.     Lor' (des 
perately)      How    gay    we've   been!       (icipes   forehead   and 
groans  again;  nervously  —  half  rising)     I  guess  I'd  better 
go.     Mother,  she'll  just  rear  —  ef  I  didn't  take  her  to  the 
Boys. 

EST.  (C  pushing  him  back)  Oh,  you  mustn't  go  yet. 
Just  tell  me.  I'm  afraid  you  haven't  really  liked  all  this. 

ROG.  (L)  I'd  orter,  I  reckin.  Mother,  she's  enjoyed  it 
enough  to  go  round  the  family.  Her  a-being  born  in  Liz- 
abethville  is  what  gives  her  a  advantage  over  me  and  Es- 
meraldy,  as  never  knowed  nothing  much  but  Old  Bald. 
(looking  at  him  again)  Lor' —  how  ye  do  remind  me 
of  it.  Ye  haven't  seen  Esmeraldy  yet? 

EST.    No. 

ROG.  Ye'd  scarcely  know  her.  She's  got  so  much  style  to 
her  dressin'.  There's  a  heap  of  style  to  it,  an'  style  is 
what  folks  wants  I  reckin,  but  seems  like  it  don't  eggsackly 
reach  the  spot  allers  nother.  (sighs) 

EST.    You  mean  she  doesn't  enjoy  it? 

ROG.  Lor'  no.  Though  I'd  orter  be  a-goin' — mother  sh'll 
just  rear  ef  I  don't  take  her  to  the  Boys.  But  Esmeraldy, 
she's  kinder  in  my  mind  —  an'  she  ain't  a  thinkin'  of  style 

—  she —    (in  a  burst  of  confidence)      She's  a-thinkin'   of 
suthiri  else  —  she's  a-thinkin'  of  the  little  house  standing 
empty  an'  Dave  a-waitin'  and  she's  a-wearin'  herself  out. 

NORA.  (R  C  —  who  with  KATE  has  been  listening)  I 
feel  as  if  I  should  have  to  tell  him. 

KATE.     (R  of  NORA)     Nora,  so  do  I. 

EST.     Poor  little  girl.     Poor  little  girl. 

ROG.  Yes  —  yes  —  them's  young  folk's  ways  —  an*  I 
ain't  got  nothing  agin  em  —  an'  it  seems  like  sometimes 
Esmeraldy  couldn't  hold  out  no  longer.  If  it  could  now,  so 
as  things  'd  be  easier  for  her,  mother  might  take  it  out  of 
me  and  welcome. 

XORA.     Kate,  I'm  convinced  that  I  shall  tell  him. 

KATE.    I  wish  you  would. 

ROG.  I  hain't  got  a  minit  to  stay,  (nervously)  But 
just  tell  me,  is  the  old  house  a-standin'  yet?  Or  did  they 
tear  it  down? 

EST.    It's  there  yet.    I  got  my  friend  to  leave  it. 

ROG.  Lor'  bless  you.  (grasping  his  hand)  I  kinder  felt 
it  weren't  gone.  Lor',  how  ye  do  remind  me  of  the  Old 
Bald.  Seems  as  if  ye  was  sorter  like  it.' 


ESMERALDA.  20 

EST.  (shaking  his  hand  affectionately)  Thank  you  — 
thank  you  —  I'm  glad  if  I  am.  But  look  here.  As  to  Mrs. 
Rogers  and  your  daughter,  can't  something  be  done? 
Couldn't  you  make  a  stand?  If  a  man  was  going  to  make 
a  stand  I  should  think  this  was  as  good  a  time  as  any. 
Make  a  stand. 

ROG.      (amazed)      Eh?     What?     A-agin  mother? 

EST.  (impatiently)  Oh,  yes.  With  the  highest  defer 
ence  for  her  —  confound  her !  Tell  her  to  go  to  —  Old  Bald 
or  to  —  to  the  Catacombs.  What  right  has  she  to  be  mak 
ing  everybody  miserable?  (R  C  a  little) 

Roo.  (pityingly)  Lor',  you  don't  know  nothing 

you're  young  an'  onexperienced. 

NORA.  If  I  don't  put  my  hands  over  my  ears  I  must  tell 
him.  (puts  hands  over  ears  —  starts  up  R) 

KATE,     (does  the  same)     Nothing  else  will  save  me. 

ROG.  (starts  agitatedly)  But  I'll  see  ye  agin I've 

got  to  go  —  I've  jest  got  to.  Ef  I  don't  take  her  to  the 

Boys  —  mother,  she'll  jest  let  down  on  me •  I  can't 

stay  a  minit. 

EST.  (R  C)  Oh,  mother  be  roasted  —  not  to  put  too  fine 
a  point  on  it.  Don't  go  yet. 

ROG.  (picking  up  hat  and  shaking  hands  as  he  walks  to 

the  door)  I  must —  I've  got  to You  don't  know 

what  it  is  to  be  kinder  married  —  to  folks  as  is  high  sper- 
reted.  Come  and  see  us  —  it's  Kattery  vank  dux  Boolyvard 
Horseman.  Good  by  all.  Lor',  I  wish  I  had  longer  to  stay. 
(going  L  3) 

EST.     (R  C)     Good-bye. 

ROG.  (gets  outside  door,  steps  back  wistfully)  If  it 
warn't  fur  mother  —  but  I've  got  to  go.  (goes  but  pauses 
at  door  a  moment,  looking  back  at  EST.)  Lor',  how  you  do 
remind  me  o'  Old  Bald,  (exit  C  L  3  E) 

NORA,  (taking  hand  from  ears  —  up  stage  R)  If  he  had 
stayed  another  minute  I  should  have  told  him. 

KATE,     (up  R)   If  you  hadn't  I  should. 

DES.  (icith  sigh  of  relief  —  from  easel)  I  don't  mind 
saying  that  I  came  rather  near  it  myself. 

EST.     (crosses  L)     And  how  about  Dave? 

DES.     (at  easel)     He  will  certainly  come  soon. 

KATE,  (up  window  C  at  back)  I'll  stand  at  the  window 
and  watch  for  him. 

NORA.    How  shall  you  tell  him,  Mr.  Estabrook? 

EST.  (cross  L  sits  L)  How?  By  Jove!  I  hadn't  re 
flected.  I  might  break  it  to  him  gently  by  saying,  Look 
here,  you've  come  into  no  end  of  money  and  luck. 

NORA,  (down  R  —  indignantly)  The  moment  he  cornea 
in,  of  course.  That  would  be  breaking  it  to  him  gently. 
Jack  could  do  as  well  as  that. 


30  ESMERALDA. 

DBS.  (at  easel)  And  if  ever  there  was  an  idiot  ttnd  an 
imbecile,  it's  Jack. 

NORA  (to  EST.)  You  ought  to  prepare  his  mind.  It 
isn't  money  he  wants — it's  Esmeralda,  don't  you  know. 

EST.    (reflectively)    Is  Esmeralda  at  all  like  you? 

NOKA.     1  suppose  all  girls  are  alike  more  or  less.     Why? 

EST.  Ah!  You  said  he  wanted  Esmeralda — and  the 
idea  struck  me  as  entirely  plausible. 

NORA.  It  is  Esmeralda  he  wants.  What  does  he  care 
for  money?  (scornfully)  If  he  thinks  she  doesn't  love 
him  and  you  tell  him  he  is  rich,  money  will  only  make  it 
worse. 

EST.  (regarding  her  with  reflecting  admiration)  Of 
course — money  is  mere  dross. 

NORA,  (animated)  You  must  let  him  know — in  one 
word — that  she  loves  him  with  all  her  heart  and  soul  and 
life  and  detests  the  Marquis  and  loaths  him  and  abhors  him, 
and  wouldn't  marry  him  for  fifty  million  worlds  and  no 
one  could  make  her  and  her  mother  is  a  wretched  fiend — • 
and • 

EST.  (rising  and  retreating  L;  NORA  goes  R}  All  that 
in  one  word? 

NORA.    Yes,  and  you  must  tell  him • 

KATE,  (from  window)  He's  coming — he's  coming.  He's 
crossing  the  street. 

DES.  (coming  down  C)  He  is.  Look  here!  Let's  give 
him  a  glass  of  wine  tirst. 

NORA.  Oh,  I'll  attend  to  that.  Mind,  we're  just  taking 
some  ourselves,  (goes  to  little  cupboard  R  2  and  gets  wine 
and  cake,  which  she  sets  on  table  R  while  ESTABROOK  looks 
amazed)  Mr.  Estabrook  and  Jack,  sit  down  this  minute 
and  begin  to  eat  as  if  yon  were  hungry,  (pushes  them 
into  chairs,  pours  out  wine,  talking  all  the  time)  It  will 
make  me  feel  easier,  Mr.  Estabrook,  take  a  cake.  Oh,  do 
do — do!  (forces  one  into  his  hand — -bewildered,  pulls  up 
chair  and  begins  to  eat — Nora  talks  louder)  Isn't  it  fun 
lunching  in  this  way.  (to  EST.)  Oh,  do  eat  fast — you 
don't  look  real  at  all. 

EST.    (R  of  table)     It's It's  delightful. 

« 
(Enter  DAVE — Nora  rises  with  cake  in  "hand.) 

NORA.  Jack,  here  is  Mr.  Hardy  and  he  has  caught  us 

at  our  luncheon •  (goes  forward)  But  I  dare  say 

he'll  excuse  us. 

DAVE.    Yes,  miss,  certainly. 

JACK,  (gets  up)  So  glad  you've  come.  I  was  afraid  I 
was  going  to  lose  my  sitting.  If  you  haven't  lunched  won't 
you  sit  down  in  a  kind  of  a  hapj»y-go-lucky  with  us  ? 


ESMERALDA.  Si 

NORA.  Please  do,  Mr.  Hardy;  we've  been  out  and  you 
haven't  an  idea  how  hungry  we  are  and  what  awful  appe 
tites  we  have.  Mr.  Estabrook's  is  terrible. 

DAVE.  Thank  you.  (little  bewildered)  Did — did  you 
say,  Estabrook?  (Dns.  go  up  C  B) 

NORA.    Yes. 

(NoRA  leads  DAVE  to  table;  DAVE  stops  and  looks  at  EST., 
who  rises  and  extends  his  hand.) 

EST.    Yes,  we've  met  before,  in  North  Carolina. 

DAVE,  (takes  hand)  Ye-s — it  was  there,  (overpowered) 
If  you  don't  mind — I'll  sit  down.  I  ain't  as  strong  as  I 
was — and  it's  kind  of  startled  me.  (drops  into  chair  L  of 
table  R  and  leans  head  on  hand  a  moment) 

NORA,  (cheerfully — back  of  table)  You  want  a  glass 
of  Avine,  Mr.  Hardy,  (pours  out  glass  and  gives  it  to  him) 
Drink  that  and  we'll  have  some  lunch  and  you  can  tell  us 
about  North  Carolina,  and  we'll  tell  you  about  your  friends. 

DAVE.     About  my  friends? 

NORA.  Yes,  as  Jack  said  he  would.  We  know  them  very 
well.  Kate  and  I  are  great  friends  of  Esmeralda's.  Drink 
your  wine  and  we'll  tell  you  all  about  her. 

DAVE.  All  about  her — about  Esmeralda?  Perhaps  I'll 
need  the  wine  before  I  hear  it?  (drinks  and  then  pushes  it 
aside)  Now  tell  me.  (suppressed  feeling,  almost  fierce) 
Is  she  well?  Has  her  money  made  her  happy?  Has  it 
made  her  forget — her  home  and  those  that  loved  her  and 
would  have  died  to  save  her  from  harm  and  only  lived  to 
care  for  her  and  stand  by  her  and  be  true  to  her  while 
breath  was  in  them — has  she  forgot  it  all? 

(NoRA  leans  fonvard  with  sudden  change  to  quiet  interest 
of  feeling  and  lays  hand  on  his  arm.) 

NORA.  Was  she  that  kind  of  a  girl  when  you  loved  her  in 
North  Carolina? 

DAVE,     (passionately)     No!    God  bless  her — no! 

NORA.  And  she  isn't  now.  Women  don't  change  so  soon 
as  that — women  like  her. 

KATE.  She's  the  dearest,  sweetest  and  most  loving  little 
thing  that  ever  lived — and  if  it  wasn't  for  Mrs.  Rogers • 

EST.  (R)  Never  mind  Mrs.  Rogers.  If  I'm  not  mis 
taken,  I  have  a  letter  in  my  pocket  which 

NORA.  (K ;  casting  a  glance  of  indignation  at  EST.  and 
cutting  in  hurriedly)  Take  another  cake.  Yes,  of  course, 
but  that  is  only  business;  Mr.  Hardy  wants  to  know,  first 
of  all,  about  Esmeralda. 

DAVE.    Yes,  I  don't  care  about  the  rest  of  it.    I  want  to 


32  ESMERALDA. 

hear  about  Esmeralda.  (rises,  standing  up  in  a  sort  of  fine 
desperate  way,  facing  them  all)  I  ain't  going  to  deceive 
you —  All  I  care  for  is  Esmeralda —  I  didn't  come 
here  just  on  account  of  sitting  for  the  picture,  though  I  ex 
pect  to  do  it —  I  came  because  I  wanted  to  hear  the 
truth  and  thought  maybe  you  would  tell  it  me  —  There 
ain't  anything  in  all  the  world  that'd  pay  me  for  what  I 
have  lost  if  I've  lost  Esmeralda. 

NORA,     (fiercely  id  Esx.)     Didn't  I  tell  you  so? 

Esx.  (rises)  My  dear  fellow,  you're  to  be  honored  for 
it. 

DAVE.  I  haven't  even  thought  of  it  in  that  way.  Seems 
to  me  it  ain't  anything  but  an  honest  man's  nature.  She's 
mine  and  I'm  her's  just  as  much  as  if  we  were  man  and 
wife.  My  God,  man  —  I  —  love  her.  (go  to  L  C) 

NORA,      (impetuously  —  goes  to  him)     And  she  loves  you. 

DAVE.  She  used  to,  and  'tain't  in  me  to  understand  how 
a  thing  like  that  could  be  forgotten.  I  always  thought  there 
wasn't  no  end  to  love. 

NORA.     (C)     And  there  is  no  end  to  it. 

DAVE,  (begins  to  walk  around)  And  yet  they  tell  me 
she's  going  to  marry  another  man  and  last  night  when  I 
went  and  stood  outside  the  house  there  was  light  and  music 
and  she  came  to  the  window  with  him  and  he  took  some 
flowers  out  of  her  hand  —  and  kissed  them  —  and  me  out 
side  there  in  the  dark  and  cold !  It  seemed  —  somehow  it 
seemed  as  if  I  hardly  knew  her  and  the  woman  I  loved  was 
nowhere  in  the  wide  world. 

EST.  Oh,  look  here,  I  can't  stand  this  while  I've  a  letter 
in  my  pocket 

NORA.  (aside  to  EST.  fiercely)  Take  another  cake. 
(cross  to  DAVE)  And  you  lost  faith  in  her  and  distrusted 
her  while  she  was  loving  you  with  all  her  heart.  (KATE  up 
at  back  of  table  icith  JACK) 

KATE.     Poor  little  Esmeralda. 

NORA.  (R  C  quite  severely)  While  she  was  longing  to 
get  away  from  that  —  that  reptile  —  and  if  she  had  seen 
you  would  have  rushed  into  your  arms 

DAVE.  (L;  turns  suddenly)  Into  my  arms?  Will  she 
ever  come  into  them  again? 

EST.  (R  desperately  hands  letter  to  Nora  across  table) 
Miss  Desmond,  if  you  will  be  so  kind  as  to  take  in  hand 
this  letter  which 

NORA.  (R  C)  Lay  it  on  the  table  and  —  and  —  take 
another  cake,  (quite  ferociously  —  to  DAVE)  And  because 
he  took  her  flowers  you  thought  it  was  her  fault.  Would 
she  have  thought  anything  could  be  your  fault?  Ah! 
Women  are  a  million  times  nicer  than  men. 

EST.    They  are  undoubtedly  —  I  never  felt  it  so  strongly. 


ESMERALDA.  33 

NORA.  And  now  —  Mr.  Estabrook  —  tell  him  about  your 
letter,  (sits  R  C) 

EST.  By  George !  I  don't  exactly  know  how  to  do  it. 
(takes  it  from  table)  You  see,  it's  a  —  it's  a  letter 
which 

NORA,     (severely)     Which  contains  good  news. 

EST.  Exactly.  That's  it.  And,  in  one  word,  you  must 
prepare  yourself  for  it,  and  all  that  sort  of  thing  —  and 
of  course  it's  not  half  as  much  consequence  as  —  Miss 
Rogers  —  and  in  one  word  money  is  dross  —  and  nobody 
cares  for  it,  and  all  that;  but  it's  useful  when  —  when 
your  mother-in-law  makes  a  point  of  it. 

(DAVE  bewildered.) 

NORA.  (breaks  in)  Oh,  let  me  tell  him.  I'll  tell  it 
like  a  story,  (rapidly)  Once  upon  a  time  there  was  a 
girl  who  was  gentle  —  timid  and  loving 

DAVE,      (bewildered)     Esmeralda. 

NORA.  And  there  was  a  brave,  kind  heart  that  had  al 
ways  been  true  to  her  and  it  was  her  comfort  and  her 
refuge 

DAVE.     She'd  —  she'd  —  used  to  say  so. 

NORA.  (more  excited)  And  there  was  a  wicked  old 
mother  and  some  land  that  seemed  to  turn  out  valuable  — 
I  shan't  tell  it  well  because  I'm  in  such  a  hurry  —  but 
through  that  wicked  woman  and  the  land  the  sweet,  little 
loving  soul  was  torn  away  from  all  she  loved  and  taken  to 
a  foreign  country  and  surrounded  by  luxury  and  wealth  and 
flattery  she  didn't  care  for;  she  only  wanted  the  brave, 
kind  heart  she  used  to  nestle  against. 

DAVE,      (sits  L  chair)     My  little  girl  —  my  little  girl. 

NORA.  And  the  wicked  old  woman  grew  wickeder  every 
day  and  tried  to  make  her  marry  a  man  she  hated  and 
who  only  wanted  her  money 

DAVE.     The  bitter  villain. 

NORA,  (rising  and  approaching  him)  And  it  was  as  if 
there  was  a  fate  in  it.  It  turned  out  that  the  money  he 
wanted  was  not  there  —  she  had  none. 

(WARN  CURTAIN.) 

DAVE,      (falling  back)      She  had  none? 

NORA  No  —  nothing;  nothing  but  the  love  she  had  to 
give  and  the  love  that  was  given  her.  The  letter  tells  it 
all,  and  Mr.  Estabrook  can  explain  it.  I  don't  know  any 
thing  about  ore,  and  I  don't  oare ;  but  the  land  that  was  of 
value  was  the  lover's  land  and  the  wealth  was  his  —  and 
you're  a  rich  man  — and  Esmeralda  loves  you  — you're 


34  ESMERALDA. 

worth  thousands  and  thousands  and  thousands  —  perhaps 
millions  —  and  Esrneralda  loves  you.  (back  of  him  L  C) 

DAVE.    I  —  I'm  a  rich  man? 

EST.  (R,  coming  forward  cross  to  C)  In  one  word,  the 
letter  will  tell  you  —  you  are  a  rich  man  indeed. 

KATE.    And  Esmeralda  loves  you. 

DAVE.    That's  true  —  true?     (cross  to  C) 

NORA.     (L;  KATE  with  her)     Yes. 

DAVE.  The —  (as  EST.  hands  him  letter)  Let  the 
letter  go.  I  am  a  rich  man  if  —  Esmeralda  loves  me. 
(half  rising  from-  chair) 

CURTAIN. 
END  OF  ACT  II. 


ACT  III. 

SCENE. —  A  room  in  Rogers'  house  during  a  "ball.    Table  R. 
Fireplace,  mantel  glass,  R  2,  sofa  L. 

DISCOVERED. —  KATE  and  DESMOND.     Music  at  rise. 

DES.  (Seated  at  L  of  table  R)  Well,  I  must  say,  you 
know,  I  shall  be  rather  glad  wher  it's  all  over.  A  fellow 
don't  seem  to  get  so  much  good  out  of  his  friends  and  rela 
tions  when  there's  a  mystery  on  hand.  Now,  there's  Esta- 
brook  and  Nora 

KATE,  (seated  on  sofa  L)  You  don't  mean  to  say  that 
you  have  any  complaint  to  make  about  Mr.  Estabrook  and 
Nora. 

DES.  (innocently)  Oh,  no  complaint.  Only  this  affair 
of  the  Rogerses  gives  them  so  much  to  talk  about  you  never 
seem  to  be  able  to  lay  your  hand  on  them.  They've  got 
into  a  way  of  rambling  off  together 

KATE,     (laughing  quietly)     Yes,  I've  observed  it. 

DES.  And  getting  absorbed  in  conversation  and  all  that. 
It's  natural,  of  course,  as  they  are  the  prime  movers  in 
the  affair,  but  it  interferes  with  general  sociability. 

Why (starts  and  reflects)  Confound  it!  When  I 

come  to  think  of  it,  I've  not  had  an  undisturbed  hour  with 
Estabrook  for  three  weeks,  and  I'm  fond  of  Estabrook. 

KATE.     So  am  I  —  and  so  is  Nora. 

DES.  Of  course.  He's  the  kind  of  fellow  it's  natural  to 
be  fond  of.  And  he  seems  to  get  along  specially  well  with 
Nora.  (KATE  laughs)  Here,  I  say,  what  are  you  laughing 
at? 

KATE.  Nothing,  Jack  dear.  I'm  not  laughing.  Only 
you  are  such  a,  love  and  so  clever  and  far-sighted  — 
(laughing  all  the  time)  and  —  and  —  discerning  and  all 
that,  (rises  and  goes  up) 

DES.  Oh,  well,  I'm  far-sighted  enough,  if  it  comes  to 
that.  I  don't  see  what  there  is  to  laugh  at,  at  a  fellow's 
seeing  as  far  through  a  mill-stone  as  most  people.  It's  a 
sort  of  natural  gift.  (KATE  laughs)  Look  here!  What's 
the  matter?  Something  wrong  with  my  necktie?  Got  a 
daub  of  paint  on  my  nose?  (crosses  to  mantel  R  —  looks  in 
glass) 

KATE,      (coming  down  C)      KA,  dear.     You  look  lovely. 

35 


36  ESMERALDA. 

Do  go  on  talking  about  Nora  and  Mr.  Estabrook.  It's  so 
observing  in  you  to  have  noticed  them  so  and  the  interest 
they  take  in  the  Rogerses.  (suppressed  laughter) 

DES.  (at  mantel  —  looks  at  her,  pauses  —  truth  sud 
denly  dawns  on  him)  I  say! 

KATE.  Oh,  but  I  don't.  I  haven't  anything  to  say  at 
all.  So  you  have  no  need  to  expect  it  of  me. 

DES.  (whistles  softly)  The  dickens!  You  don't  mean 
to  tell  me! 

KATE,  (over  back  of  chair  R  C)  Certainly  not.  I 
shouldn't  think  of  such  a  thing.  I  am  giving  all  my  atten 
tion  to  decorating  that  punch  bowl  for  Mrs.  Craig  and  I 
neither  see  nor  hear  anything.  When  Mr.  Estabrook  is 
talking  to  Nora  about  Mrs.  Rogers  and  Nora  is  talking  to 
Mr.  Estabrook  about  Mrs.  Rogers  I  turn  my  back  and  paint 
the  punch  bowl;  and  I  have  to  do  it  at  all  sorts  of  hours 
and  in  all  sorts  of  lights  and  when  they  get  interested  I 
dare  not  stir  or  stop  for  fear  of  disturbing  them  and  as 
occasionally  I  need  new  colors  and  am  obliged  to  use  what 
I  have  near  me,  the  punch  bowl  suffers  for  it. 

DES.     Well,  I  must  say,  I  didn't  think  it  of  Estabrook. 

KATE.  And  I  must  say,  I  wouldn't  have  believed  it  of 
Nora. 

DES.     And  you  really  think 

KATE.  No,  I  don't.  I  think  nothing  —  except  that  I  hope 
the  punch  bowl  will  be  as  satisfactory  to  Mrs.  Craig  as  it 
is  to  Nora  and  Mr.  Estabrook.  Think —  (approaching 
him )  Do  you  suppose  I  am  no  better  sister  than  that  ?  Nora 
hasn't  quite  made  up  her  mind  what  she  thinks  yet,  and  if 
I  thought  before  she  did,  she'd  be  ready  —  to  bite  me. 
(makes  little  snap  at  him  —  goes  cross  C) 

DES.  (at  mantel)  Well,  I  suppose  it's  natural;  but 
Nora —  Oh,  confound  it  —  after  a  fellow's  bringing  her 
up  by  the  hand,  as  it  were,  and  taking  her  to  the  dentist's 
and  filling  her  stocking  at  Christmas. and  being  a  parent  to 
her  —  it's  rather  tough  to  discover  that  she's  beginning  to 
take  an  interest 

KATE.  In  Mr.  and  Mrs.  Rogers?  So  it  is.  (looks 
through  open  door)  There,  they  are  coming.  I'm  going. 
(exit  hurriedly  L  arch) 

DES.  (crossing  to  C  —  looking  off  R)  Who?  Mr.  and 
Mrs.  Rogers?  No;  it's  Nora  and  Estabrook.  What  did  she 
shoot  off  in  that  way  for?  A  fellow  never  seems  to  know 
what  girls  are  up  to  —  even  after  he  has  brought  up  a 
couple  of  them  by  hand.  Now  I  don't  know  what  she  did 
that  for;  but  I  suppose  she  did,  so  it's  all  right.  They  al 
ways  know  what  they're  up  to,  and  they're  generally  up  to 

something  —  girls  are,  as  a  rule (reflects)  I've 

found  that  out  during  my  paternal  career.  Now  I'm  going 


ESMERALDA.  37 

to  have  a  little  chat  with  Estabrook  and  Nora,     (goes  down 


(Enter  EST.  and  NORA  R  C  expecting  to  find  room  empty. 
Pause  at  sight  of  DES.  Slightly  disappointed,  start,  then 
advance  a  trifle  slowly.) 

Come  in  to  have  a  rest,  have  you?  Same  myself.  It's 
cool  here. 

NORA,  (buttoning  her  glove  abstractedly)  Ye-es,  so  it 
is.  (go  down  R  C;  EST.  R  of  table) 

EST.    Cooler  than  I  expected  to  find  it.    All  by  yourself? 

DES.  Yes;  Kate's  just  left  me.  Good  chance  for  us  to 
have  a  chat,  (throics  himself  on  a  sofa)  It's  better  fun 
than  dancing  like  mad  in  there,  (signifies  room  by  gesture) 

NORA,  (sitting  calmly  B  C)  Certainly  it  is,  for  awhile. 
It  wouldn't  be  a  bad  idea  to  have  some  ices.  Suppose  you 
go  and  get  some,  Jack. 

DES.  (lazily  —  on  sofa  L)  Send  Estabrook.  He  knows 
all  about  supper  room  struggles.  He's  sophisticated.  I'm 
not.  I  couldn't  find  the  way. 

EST.  I'll  go.  He  would  be  stopped  by  the  female  brig 
adiers  who  would  take  them  from  him  on  his  way  back. 
(exit  C  L  —  music  —  moment's  pause)  (L  C) 

NORA.     Been  having  a  pleasant  evening,  Jack? 

DES.    Yes,  all  right. 

NORA.     Have  you  been  dancing  much  ? 

DES.     No;  haven't  danced  much. 

NORA.  Then  why  don't  you  go  and  dance?  It's  lovely. 
The  music  is  perfect.  You  —  you  don't  know  what  you  are 
missing.  I  never  had  such  delightful  dances  in  my  life. 
You  ought  to  go  and  dance,  Jack.  You'd  enjoy  it. 

DES.     I  will  —  later  on. 

NORA.  But  the  waltz  they  are  playing  now  is  enchanting 
and  that  pretty  Miss  Berris  you  are  so  fond  of  was  not 
dancing  when  we  left. 

DES.  Miss  Berris!  (si*  up)  Who's  Miss  Berris?  I'm 
not  fond  of  Miss  Berris. 

NORA.  Why,  you  are,  Jack  —  you  know  you  are  awfully 
fond  of  her.  You  said  last  winter  you  never  enjoyed  waltz 
ing  with  any  one  so  much  in  your  life. 

DES.  (rise)  I  say  —  I  wish  you'd  tell  me  —  do  you 
want  me  to  go?  (rising,  crossing  to  C) 

NORA.  (starting  indignantly)  Want  you  to  go!  Of 
course  not!  Gracious,  no!  I  should  think  not.  Why  should 
I  want  you  to  go?  What  perfect  nonsense! 

DES.  It's  pretty  certain  you  want  me  to  do  something, 
and  if  you  want  to  have  a  chance  at  Estabrook  alone,  and 
all  that  sort  of  thing  - 


38  ESMERALDA. 

NORA,  (rising  fiercely)  Jack,  what  do  you  meant  I'll 
never  forgive  you. 

DES.  (approaching  her  icith  the  ingenuous  air  of  mak 
ing  a  clean  breast  of  it)  Nora,  I  haven't  an  objection  on 
earth.  He's  a  splendid  fellow  and  it's  all  right;  and  after 
I've  settled  down  to  giving  up  my  share  of  you,  nothing 
would  please  me  better. 

NORA,  (retreating  R  in  wildest  confusion)  Jack,  if  you 
say  another  word,  I  .shall  detest  you —  (little  stamp) 
and  I  shall  detest  him.  I  shall  detest  everybody,  (cross  L) 

DES.  Oh,  come  now.  That's  just  like  a  girl.  I  tell  you 
I'm  not  going  to  stand  in  the  way.  I'm  going  to  ask  Miss 
Berris 

NORA.  Stay  where  you  are  this  instant.  I  wouldn't  let 
you  go  now  for  —  for  millions.  Want  to  be  left  alone  with 

—  with  a  person!     Nothing  could  induce  me  to  be  left  alone 
with  him.      (cross  R;  backs  up  against  mantel  and  stands 
there  —  hands  behind  her;  quite  out  of  breath)     Jack,  I  —  I 

—  wonder  how  you  came  to  be  so  fiendish,      (pathetically) 
DES.     (C)     Nora,  do  you  mean  to  say 

NORA.  (R)  No,  I  don't.  Nobody  said  anything  —  no 
body  thinks  of  saying  anything  —  as  if  people  couldn't  be 
friends  without  saying  things.  We  are  interested 

DES.     In  the  Rogerses? 

NORA.  Yes,  sir,  in  the  Rogerses.  (quite  grandly)  We — • 
we  sympathize  with  them  and  it  brings  us  together  and  — • 
and  —  and  we  talk  (cross  L)  and  things.  Oh,  do  go 
away  this  instant  —  he's  coming. 

DES.     I  thought  you  didn't  want  me  to  go? 

NORA.  I  don't.  Stay  where  you  are.  (alarmed  glance 
at  door)  No  —  go!  I  can't  know  what  I  want  you  to  do. 
(puts  hands  up  to  face) 

DES.  (looks  at  her  a  moment)  Well,  I  do  —  and  I'm  go 
ing  to  do  it.  (goes  toward  door  C) 

NORA,  (removes  hands  a  little  and  glances  at  him)  At 
any  rate  it  is  not  because  I  want  to  be  alone,  (cross  R) 

DES.  By  no  means.  It's  because  you  don't  want  to  be 
alone,  (runs  against  EST.  at  door  R  —  icith  ices) 

EST.  (cross  to  R  of  JACK)  Where  are  you  going,  my 
friend  ? 

DES.  (R)  I'm  going  to  dance  with  Miss  Berris.  I  find 
she's  alone  and  objects  to  it.  (exit  L  C)  % 

EST.     (to  NORA  com ing  doicn  C)     Rather  sudden,  isn't  it? 

NORA,  (icho  has  hurriedly  arranged  herself  in  a  non 
chalant  pose)  Rather,  but  that's  just  like  Jack  and  he's 
tremendously  partial  to  Miss  Berris. 

EST.  (R  C)  You  look  cool.  Have  an  ice?  (offers  her 
one)  I  mean  you  don't  look  cool.  Are  you  tired?  (puts 
ices  on  table) 


ESMERALDA.  39 

NORA.  (R  of  mantel)  Tired?  Of  dancing?  I  should 
think  not.  Only  one  does  reach  a  point  sometimes  when 
one  likes  to  lean  against  something.  But  you  were  saying 
in  the  ball  room 

EST.  Only  that  a  mysterious  change  is  taking  place  in 
my  character. 

NORA.     How  so?    When  did  you  first  begin  to  notice  ifc? 

EST.    The  day  I  met  you  at  the  studio.    Curious,  isn't  it? 

NORA.  Quite  too  awfully.  Is  it  a  very  interesting 
change  ?  . 

EST.  Oh,  very,  I  assure  you.  I  am  watching  its  de 
velopment  with  a  great  deal  of  pleasure. 

NORA.  How  absorbing.  What  form  does  it  seem  to  take, 
for  instance,  (sits  R  of  table) 

EST.  Several.  In  the  first  place,  the  form  of  an  in 
creased  affection  for  Jack.  I  was  always  fond  of  Jack,  but 
I  had  no  idea  my  affection  was  so  deep  and  violent.  It's 
quite  inflammatory.  I  can't  stay  away  from  the  studio.  I 
feel  myself  at  all  hours  impelled  by  a  frantic  desire  to 
go  and  see  Jack.  Jack  has  become,  figuratively  speaking, 
the  lode-star  of  my  existence,  (crossing  L) 

NORA.     Really,  I  must  tell  him. 

EST.     (turning  to  her)     Do,  he'll  be  gratified. 

NORA.  Wouldn't  you  like  to  go  and  talk  to  him  now? 
He's  in  the  ball  room,  you  knowr. 

EST.     Thanks.     That's  quite  a  happy  thought,  isn't  it? 

NORA.  It  struck  me  in  that  way.  (pause)  Well,  why 
don't  you  go? 

EST.     (serenely)     Oh,  I  wasn't  thinking  of  going. 

NORA.    But  why  not? 

EST.    I  don't  know  —  do  you  ? 

NORA,  (rising,  coming  C)  No;  I  can't  imagine,  (rise) 
There  —  my  glove  is  unbuttoned  again. 

EST.  (little  nearer  and  regarding  it  with  interest)  Do 
you  think  I'm  equal  to  buttoning  it? 

NORA.  I'm  afraid  not.  (cool,  ingenuous  —  advancing 
wrist)  But  you  might  try. 

EST.  (L  C)  It's  an  attractive  sort  of  glove.  How  does 
it  work?  (tries  to  fasten  it) 

NORA.     Don't  you  know? 

EST.  (L)  Certainly  not.  And  I  beg  you  won't  tell  me. 
I  prefer  to  make  an  effort  in  the  pursuit  of  knowledge  — 
besides  now  I  think  of  it,  a  glove  oughtn't  to  fasten  too 
easily.  If  a  man  was  going  to  design  a  glove  he  should 
give  some  attention  to  designing  one  which  knew  where  to 
draw  the  line. 

NORA,     (calmly  —  taking  hand  back)     Does  it  dawn  upon 
you  that  you  are  talking  nonsense? 
.EsT.    Impossible,     (get  to  C  as  she  looks  at  him) 


40  ESMERALDA. 

NORA  (to  L  of  table)  And  that  glove  isn't  hard  to 
button  at  all  —  really  —  you  are  capable  of  grasping  the 
subject,  (cross  to  L) 

EST.     Gracious  powers.     That's  the  difficulty  —  I  didn't 

grasp  the  subject.     Suppose  I  grasp  it  now (makes 

movement  as  if  to  take  her  hand) 

NORA.  (steps  adroitly  aside  and  sits  down  in  seat  L 
of  table  R)  Suppose  you  tell  me  about  old  Mr.  Rogers. 
(cross  to  R)  What  is  he  going  to  do? 

EST.  Miss  Desmond,  .this  is  absolutely  criminal.  These 
sudden  changes  of  subject  amount  to  mental  shock. 

NORA.     What  is  old  Mr.  Rogers  going  to  do? 

EST.     He  is  going  to  appeal  to  the  Marquis. 

NORA,  (surprised)  You  mean,  to  ask  him  to  give  up 
Esmeralda  ? 

EST.    Yes. 

NORA.  The  dear  old  fellow.  Being  a  sordid  creature  I've 
always  liked  him  since  he  bought  that  panel  from  me. 
That  one.  (points  to  panel  on  wall  or  easel  off  L  C) 

EST.     Is  that  yours?     How  much  did  you  get  for  it? 

NORA.     Fifty  francs. 
,    EST.     Oh,  fifty  francs,  which  you 

NORA.    Bought  a  new  bonnet  with. 

EST.  (starting  to  easel  L)  I  must  look  at  it.  Do  you 
know  I  never  seemed  to  take  much  interest  in  panels  until 
the  development  of  my  violent  affection  for  Jack;  but  since 
then  —  panels  —  well  —  it  appears  to  me  that  panels  should 
be  the  chief  end  of  man. 

NORA,  (rising  and  going  toward  panel)  I  wish  every 
one  thought  so.  How  does  this  strike  you? 

EST.  (by  panel)  Oh,  it's  an  amazing  panel  —  perfectly 
amazing.  The  humming-bird  flying  in  such  a  spirited  man 
ner  at  the  flamingo  is  vigor  itself. 

NORA.  (R  of  EST.)  It  isn't  a  humming-bird  and  it  isn't 
a  flamingo.  Now  what  are  you  going  to  do  about  that? 

EST.  (R)  It  isn't  a  humming-bird  and  it  isn't  a  fla 
mingo?  Gracious  powers!  Would  you  mind  telling  me 
what  it  is  then? 

NORA.  (L.  gravely)  It's  a  grasshopper  gazing  at  a 
conventionalized  Colorado  beetle. 

EST.  Miss  Desmond,  you  are  endeavoring  to  deceive  me. 
Is  this  the  part  of  friendship  ?  It  is  a  butterfly  and  a  stork, 
and  this  is  the  butterfly  and  this  is  the  stork.  Look  me 
in  the  eye  and  deny  it  if  you  can. 

NORA.     I  am  not  going  to  deny  it. 

EST.  Then  would  you  have  any  objection  to  looking  me 
in  the  eye  without  denying  it? 

NORA,  (nonchalantly  —  a  second's  pause  —  ROGERS  en» 
ters  R,  catches  sight  of  them  and  stops)  Not  in  the  least* 


ESMERALDA.  41 

ROG.  Them's  young  folks'  ways,  an'  Lor',  I  ain't  nothing 
agin  'em.  Don't  le'  me  disturb  ye. 

(NoBA  and  EST.  start.    EST.  go  down  L.) 

NORA.  Oh,  you  don't  disturb  us.  We  —  we're  very  glad 
to  se^  you  for  a  moment,  (sudden  change  of  manner;  goes 
to  him)  Dear  Mr.  Rogers,  you  look  so  tired.  Sit  down  for 
a  second. 

ROG.  (R  C  up)  Honey,  I  —  I  can't  —  I  am  tired  —  I'm 
all  worn  out.  I  can't  stand  it  no  longer.  I'm  going  to  see 
the  Marquis  and  tell  him  how  it  is. 

EST.     (down  L)     You're  going  to  make  an  appeal  to  him? 

ROG.  I'm  going  to  tell  him  just  how  it  is.  Lor',  he 
must  hev  feelings  somewhars  —  he's  bound  to  hev  'em. 
Folks  is  better  than  ye  give  'em  credit  for  bein'  in  general. 

NORA.    Have  you  asked  him  to  come  in  here? 

ROG.  Yes,  I  thought  he'd  hev  been  here  by  this.  I'll  go 
back  and  look  for  him.  (starts  to  go) 

NORA.  But  don't  you  want  to  stay  with  us  until  he 
comes?  Then  we'll  leave  you  together.  We'll  be  good  to 
you,  Mr.  Rogers. 

(Old  man  looks  at  her  and  puts  hand  on  her  shoulder.) 

ROG.  No,  honey,  no.  I'm  old  folks,  lin'  you're  young 
folks,  an'  young  folks,  it's  kinder  more  feeliner  to  leave  'em 
alone  —  now  an'  agin.  Young  folks'  ways  —  Lor' —  I  hain't 
nothin'  agin  'em.  They're  natural  an'  they're  right.  I'm 
a-going  to  leave  you  together,  (exit  C  off  L) 

NORA,  (up  C)  It's  a  shame.  Oh,  how  I  wish  that  old 
woman  was  in  Africa,  (cross  doicn  R  C) 

EST.  (L)  She  will  wish  she  was  in  Africa  when  Hardy 
returns  and  she  learns  the  truth. 

NORA.    But  when  will  he  return? 

EST.  As  soon  as  his  business  in  North  Carolina  is  set 
tled.  He's  no  doubt  on  his  way  over  now. 

NORA.     And  then Oh,  there  is  one  thing  I  do  wish, 

EST.     What  is  it? 

NORA.  That  Esmeralda  would  gather  up  courage  before 
he  comes  and  fly  at  Mrs.  Rogers  and  the  Marquis  and  defy 
them  both.  I  should  delight  in  doing  it. 

EST.     I  haven't  a  doubt  of  it. 

NORA.  Well,  I  hope  you  haven't.  If  /  loved  a  person • 

(pause) 

EST.     ( wat chin g  her)     If  you  loved  a  person 

NORA.     Oh,  well,  I  don't  love  a  person. 

EST.  (cross  near  her)  Of  course  not;  but  if  you  loved 
a  person 


42  ESMERALDA. 

NORA.     Oh,  I  —  I  don't  think  I  should  like  it  at  all. 
EST.      (taking  her  hand)      But  do  you  know,  it  strikes 
me  that  the  person  might  like  it. 

(Enter  MARQUIS  and  MR.  ROGERS;  EST.  turns  and  sees  them. 
MARQUIS  to  doivn  L  C.) 

Confound  the  Marquis!  (to  NORA)  Miss  Desmond,  I'm 
afraid  we  shall  have  to  return  to  the  ball  room. 

NORA.  Yes.  (nervously)  I'm  sure  we  ought  to  —  and 
they  are  beginning  to  play  a  lovely  waltz  —  and  don't  you 
know,  you  can  see  Jack.  Mr.  Rogers,  as  you  won't  dance 
with  me,  I  am  obliged  to  dance  with  somebody  else,  (takes 
EST.'S  right  arm ) 

ROG.  (admiringly)  I  wish  I  could  dance  with  ye,  honey. 
I'd  like  it  mightily. 

(NoRA  and  EST.  exeunt  together  off  C  R  3  E.     ROG.  looks 
after  them.) 

They're   having   a    pow'rful    good   time,    they    air  —  an'    I 
don't  blame  'em  either.     Them's  young  folks'  ways. 

(Takes  MARQUIS  by  lapel  of  coat  and  pushes  him  toward 
sofa  L.) 

Sit  down,  Maftcis,  sit  down,  and  let's  be  sosherble.  Seems 
like  we  haint  been  sosherble  for  a  right  smart  spell. 

MARQ.  Monsieur  has  something  to  say  to  me  perhaps. 
(sits  on  sofa) 

ROG.  That's  so  —  that's  so.  I've  a  heap  to  say  to  ye  — 
an'  Lor'  lets  be  sosherble. 

MARQ.  It  is  possible  that  Monsieur  wishes  to  speak  to 
me  of  mademoiselle. 

ROG.  (starts  eagerly)  That's  it.  Lor',  how  quick  ye've 
hit  it.  Esmeraldy  —  (sits  on  sofa  —  seizes  lapel  of  his 
cocut)  it's  about  Esmeraldy  —  Esmeraldy  —  she,  she's  a  lit 
tle  down  sperreted  —  an  so  am  I.  ( lets  lapel  go  and  leans 
back  to  look  at  him) 

MARQ.  (on  sofa  L  side)  I  regret  to  hear  this,  Monsieur. 
Permit  me  to  offer  you  the  assurance  of  my  profoundest 
sympathy. 

ROG.  (R  side  of  sofa.  Regarding  him  doubtfully) 
Y  —  yes  —  I  thort  ye  would  —  I  kinder  felt  sure  ye  would. 
I  —  I  thort  ye  was  that  way. 

MARQ.  It  is  to  be  triste  —  this  down  sperreted  —  un 
happy —  is  it  not?  Mile.  Rogare  is  unhappy  —  melancholy. 

ROG.  (eagerly)  Yes,  thet's  so  —  thet's  so.  How  quick 
ye've  hit  it  agin.  Onhappy,  t hot's  it  —  she's  onhappy. 

MARQ.    That  is  a  great  misfortune. 


ESMERALDA.  43 

(Roo.  regards  him  uneasily  a  moment  and  then  takes  out 
handkerchief  and  wipes  his  forehead.'  Speaks  aside  in  a 
puzzled  manner. 

ROG.  (aside)  Seems  sorter  os  ef  he  is  —  an  sorter  as  if 
he  aint.  He  —  he  haint  got  North  Carolina  ways,  (sud 
denly  draws  closer  and  seizes  lapel  of  MARQUIS'  coat  in  out 
burst  of  confidence)  Yes  —  Lor',  let's  be  sosherble.  Ye 
see  it's  this  way.  We're  home  folks  —  me  and  Esmeralda — • 
home  folks.  We  can't  get  used  to  city  ways  and  we're  allers 
a-thinkin  of  North  Carolina.  Mother,  she  was  raised  in 
Liz'bethville. 

MARQ.     And  this  Liz'bethville? 

ROG.  (uncertain)  Thar  —  thar  was  a  court  house  that 
—  an  a  jail  —  and  mother  kinder  had  the  advantage  of  em; 
but  me  and  Esmeraldy,  we  was  raised  right  under  the 
shadder  of  the  Old  Bald  —  an  we  don't  seem  to  git  no 
useder  to  things  than  we  was  at  first.  Dressing,  it  ain't  no 
comfort  to  us  —  Lor'  no,  Esmeraldy  now  —  only  yesterday 
she  was  all  dressed  out  an  she  burst  right  out  cryin,  and 
fell  into  my  arms  and  sez  she  —  she  sez  —  they  wouldn't 
know  me  in  North  Car'liny,  father,  they  wouldn't  none  of 
'em  know  me  —  Dave,  he  wouldn't  know  me.  (voice  breaks, 
wipes  eyes  with  handkerchief) 

MARQ.     And  this  Monsieur  Dave? 

ROG.  (laying  hand  on  MARQUIS'  knee  confidingly) 
Markis,  it's  him  es  she's  breakin'  her  heart  fer. 

MARQ.  Ma  fora.  But  this  is  pleasant  news  to  hear  of  one 
betrothed. 

ROG.  (eagerly)  I  knowed  ye'd  feel  that  way  —  I  knowed 
ye  would.  An  it  ain't  nothin  but  nateral.  Ye  don't  want 
to  marry  a  woman  with  no  heart  to  give  ye.  Ye  wouldn't 
be  a  man  if  he  did.  Lor',  I've  said  it  a  thousand  times  — 
folks  has  feelins  ef  ye  git  at  em  and  ye'd  orter  trust  em 
and  believe  in  em.  And  yere's  Esmeralda  a-breakin  her 
heart  for  Dave  and  Dave  a-breaking  his'n  fer  her,  an  the  sea 
between  em,  an  mother  sot  on  her  marryin  you.  An,  ses  I  to 
myself,  I'll  speak  to  him  an  trust  to  his  feelins,  an  ask  him 
to  make  a  stand. 

MARQ.     You  would  ask  me  to  make  a  stand. 

ROG.  Yes.  Sez  I,  I'll  ask  him  to  give  her  up,  and  that'll 
settle  mother's  mind  when  nothin  else  would. 

MARQ.  (raising  from  seat  and  pacing  room  R)  Ah,  I 
think  I  comprehend.  I  am  to  decline  the  hand  of 
mademoiselle  —  I  myself  —  and  upon  what  grounds? 

ROG.  (rising  also)  I  been  a-thinkin  o'  that  too.  Twon't 
do  to  say  it's  Esmeraldy;  it'd  kinder  make  it  harder  for  her. 
Don't  ye  say  it's  Esmeralda  as  ye're  objectin  to  —  say  it's 
me.  (touches  his  breast)  Me!  I  ain't  nothin,  ye  know  — 


44  ESMERALDA. 

Lor'  no  —  I'm  old  folks,  and  mother,  she  kin  take  it  out  of 
me  an  welcome.  Tell  her  I  (to  C)  ain't  showy  enough  — 
tell  her  I  aint  no  manners  —  tell  her  ye  couldn't  stand  me 
in  the  family  —  Lor'  tell  her  anything.  It  don't  matter  fer 
me.  What  I'm  a-thinkin'  on  is  Dave  and  Esmeralda,  thet'i 
young,  an  loves  each  other  and  hes  life  before  em. 

MABQ.  (at  mantel  R)  And  we  must  consider  Mon.  Dave 
and  Mile.  Esmeralda,  it  is  true. 

ROG.  ( C.  Tenderly )  Yes,  we  must  consider  em  —  an 
stand  by  em  —  fer  they  aint  got  no  one  else. 

MARQ.  (takes  two  or  three  steps  across  room  and  re 
turns)  And  you  desire  my  reply  to  this  proposition? 

ROG.    Yes,  Markis,  an  I  ain't  afeared  to  hear  it. 

MABQ.  (approaching  him)  It  is  this,  then  —  this  mon 
sieur.  Mademoiselle,  your  daughter  is  young  and  not  too 
strong  of  the  will.  Madame  Rogare  is  the  stronger  of  the 
two.  With  the  assistance  of  Madame  Rogare,  I  shall  make 
Mademoiselle  my  wife  —  and  after  that,  let  her  lovers  look 
to  themselves. 

ROG.     (staggers  back)     Markis!! 

MARQ.  I  do  not  give  way  readily,  monsieur,  when  I  have 
a  thing  at  stake. 

ROG.     (C)     An  —  an  ye  won't  give  her  up? 

MABQ.    No,  monsieur,  not  yet. 

ROG.  I  —  I  —  I  can't  believe  it.  (MARQUIS  shrugs  his 
shoulders)  Markis,  look  yere.  Ain't  ye  givin  up  nothin 
yerself  ef  ye  take  her.  Ye're  a  man  —  an  what  ye  wants  Is 
a  home  an  a  wife  —  a  young  creature  that  comes  ter  ye 
willin  an  gentle  an  thinks  thar  ain't  nothing  in  the  whole 
world  like  ye.  What  a  man  wants  is  a  woman's  heart  —  ef 
ye  ain't  got  it  what  do  ye  want  of  Jierl  Ye  can  call  her 
by  yer  name  and  keep  her  about  yer;  but  ye  ain't  got  her. 
Lor'  no  —  she  ain't  thar  —  sHe  ain't  nowhars  nigh,  (shakes 
head) 

MARQ.    She  will  be  near  enough,  Monsieur. 

ROG.  (with  trembling  voice)  Then  ye're  willing  ter  give 
up  more  than  I  'lowed  a  man  would. 

MABQ.  (going  up  R)  If  our  interview  is  at  au  end, 
Monsieur,  I  will  retire. 

ROG.  I  haint  got  nothin  more  to  say.  (MABQ.  bows  and 
exits  R  3  E.  Sinking  into  sofa  L  covering  face  with  hand) 
Twarn't  no  use  — -  no  use.  These  aint  North  Car'liny  ways. 

(Enter  MBS.  ROG.  excited  C  from  R.    Looks  sharply  around 
room,  sees  old  man  —  starts  toward  him.) 

MRS.  R.     (up  C)    What  are  you  doing  here?      Who  went 
out  just  now? 
ROG.     (dejectedly)     The  Markis.    He  went  out. 


ESMERALDA.  45 

MBS.  R.  Why  did  he  go?  What  have  you  been  saying 
to  him? 

ROG.  I've  been  sayin  a  sight  of  things;  but  it  warn't  no 
good  —  but  it  warn't  no  good. 

MBS.  R.  (X  to  R;  drops  into  chair)  If  ever  there  was  a 
woman  who  was  badgered  and  run  to  death  and  paid  for  all 
she's  done  with  ingratitude  from  a  couple  of  fools,  I'm  that 
woman. 

ROG.    Who's  the  fools,  mother? 

MBS.  R.  Who?  You're  one  of  them,  and  Esmeralda's  the 
other.  Here  I  have  you  with  every  luxury  round  you  and 
every  advantage  and  you  go  moping  about  and  Esmeralda 
wears  herself  out  and  gets  thin  and  pale  and  looks  as  if 
she'd  break  down  any  minute  and  fall  ill  —  and  she's  not  a 
bit  too  good  to  do  it  —  and  the  Marquis  at  his  wit's  end  to 
please  her  —  and  on  the  top  of  that  comes  a  new  piece  of 
news. 

ROG.    News!      (starting)     From  North  Car 'liny,  mother? 

MBS.  R.  (flouncing  out  of  her  seat  to  C)  Yes,  from 
North  Car'liny.  What  do  I  find  out  but  that  that  senti 
mental  idiot  followed  us  before  we'd  been  here  six  months 
and  has  been  hanging  around  and  watching  Esmeralda,  and 
living  on  a  crust  in  a  garret,  (up  C) 

ROG.  (starting  up)  Mother!  Not  Dave?  Lor' no  —  not 
Dave?  Dave  —  he's  in  North  Car'liny.  (falls  back  into 
chair  and  hides  face) 

MBS.  R.  Not  Dave?  Yes,  Dave!  Who  else  would  be  big 
enough  simpleton  but  Dave  ?  And  he's  been  about  the  house 
night  after  night  and  Esmeralda  has  heard  of  it  and  if  I  can 
keep  her  quiet  until  the  party's  over  it's  all  I  can  do. 
(X  R) 

ROG.  (a*  CD.  Starting  and  looking  at  door  down  L) 
Mother,  she's  coming  now,  an  if  I  ever  knowed  what  her 
pretty  face  meant,  ye've  kept  her  quiet  for  the  last  time. 

(C.     Enter   ESMEBALDA    R.,    pale    with   excitement.      The 
MABQ.  follows  her,  talking  and  holding  bouquet.) 

MABQ.  (R)  I  am  most  unfortunate  that  my  poor  flowers 
do  not  please  mademoiselle. 

ESM.  (C)  No,  they  do  not  please  me.  Nor  do  you. 
Take  them  and  go  and  leave  me  alone.  (turns  on  him, 
fiercely)  I  hate  them  because  you  have  held  them  in  your 
hand;  that  would  be  reason  enough  for  my  hating  any 
thing.  And  you  know  it  and  have  known  it  all  the  time. 
Only  you  were  not  man  enough  to  spare  me.  And  I  was  too 
great  a  coward  to  dare  to  speak;  but  you  have  gone  too 
far.  It  has  all  gone  too  far. 


(Roo.  leans  forward  wildly  astonished.  MARQ.  Xes  sketch 
ing  table  to  mantel  R.  MRS.  E.  springs  to  ESM.'S  side, 
seizes  her.) 

MRS.  R.    What  are  you  saying  ?    Are  you  mad  ? 

ESM.  (shakes  herself  free)  Don't  touch  me.  I'm  not 
afraid  of  you  now  —  or  of  him.  Let  him  see  to  it  that  he 
doesn't  come  near  me  again.  I've  found  out  who  has  fol 
lowed  me  over  thousands  of  miles  of  dreary  land  and  sea, 
and  who  has  watched  me  on  the  cold  and  dark  of  the  night 
outside  when  I  was  there  in  the  brightness  and  warmth. 
If  he  forgives  me  for  it,  do  you  think  I  shall  ever  forgive 
myself  —  do  you  think  I  shall  ever  forgive  you.  It  has  made 
me  what  I  ought  to  have  been  long  ago  —  a  woman  —  a 
woman  worthy  of  a  good  man's  love;  and  I'm  not  afraid  of 
anything. 

ROG.  (L  C.  Comes  up  behind  her  and  touches  her 
tremblingly)  Esmeraldy,  honey  —  I  —  don't  hardly  know 

ye. 

ESM.  ( C.,  throwing  herself  upon  his  breast )  Father  — 
dear,  gentle,  loving  father  —  you'll  stand  by  me.  I  hardly 
know  myself  —  I  feel  so  fierce  and  bitter  and  strong.  It's 
all  true.  He  has  been  in  Paris  —  cold  and  tired  and  hungry, 
while  we  were  rich  and  warm.  Dave  —  Dave  we  loved. 
Dave  who  loved  us  and  was  true  to  us  even  when  we  seemed 
false. 

ROG.  ( wiping  eyes )  He  —  he  was  that  always.  Dave 
was.  Thar  never  couldn't  hev  been  nothin  truer  than  his 
true  heart. 

MRS.  R.  Oh,  you  soft  fools.  (to  back  of  table.  Going 
to  MARQ.)  And  haven't  you  a  word  to  say  for  yourself? 
Do  something  to  stop  this? 

MARQ.  (a*  mantel  —  bowing  sardonically)  Madame,  it 
occurs  to  me  that  in  a  scene  so  truly  domestic  I  am  in  the 
way  and  should  retire. 

MRS.  R.  No,  you  shall  not.  Do  you  think  I  am  going  to 
have  my  plans  overturned  in  this  way ?  (to  R  C.  —  To 
ESM.)  You  say  he  saw  you  through  the  windows.  Then 
he  saw  you  with  the  Marquis.  How  are  you  going  to  make 
him  believe  that  you  weren't  with  him  of  your  own  free 
will? 

ESM.  Make  him  believe!  I'm  going  to  tell  him.  He'd 
know  it's  true  because  he'll  see  it  in  my  face.  I'm  going 
to  follow  him  until  I  find  him.  I'm  going  to  follow  him  if 
it's  on  foot  and  I  go  a  thousand  miles  —  you  can't  hold  me 
back  now.  I'm  your  own  daughter  for  the  first  time  in  my 
life  and  I'm  no  more  to  be  stopped  than  you  are. 

MARQ.      (regards   her  with   admiration)      Mademoiselle 


ESMERALDA.  47 

becomes  more  interesting.  My  regret  at  parting  with  her 
will  be  greater  than  I  thought. 

ROG.  Esmeraldy,  honey,  ye  almost  skeer  me  —  ye're  sorter 
like  your  mother.  I  hope  it  won't  last,  (down  a  little  L) 

MRS.  R.  (going  up  to  Esai.)  I'll  stop  you  —  if  I  have  to 
do  it  by  force. 

ESM.  (C)  I  tell  you  the  time  for  that  is  past.  I'm  not 
afraid  any  longer  —  I'm  only  ashamed  that  I've  been  a 

coward  so  long.  Look  here (tears  off  necklace  and 

bracelets)  there  are  the  things  you  made  me  wear  and  he 
saw  me  in  when  he  stood  outside  in  the  bitter  cold. 
(throics  them  on  the  floor  icith  a  fierce  gesture)  Pick  them 
up  if  you  think  they're  worth  it.  As  long  as  I  live  I'll  never 
wear  them  again,  (staggers  a  little) 

MRS.  R.  (R  C)  (Warn  Curtain)  Oh,  you'll  come  out 
of  this  — (viciously)  You'll  come  out  of  this.  You'll  be 
meek  enough  to-morrow  and  frightened  enough  —  you're  as 
pale  as  death  now  with  fright. 

ROG.  (springs  up  and  puts  arms  around  her)  So  she  is 
—  so  ye  air,  honey  —  ye  look  faint.  Kinder  try  to  stand 
up  agin  it.  (he  draws  her  to  sofa,  sits.  -As  he  reaches  it 
she  falls  upon  her  knees  before  him) 

ESM.  Yes,  I'm  faint  and  tired;  but  we'll  find  Dave,  won't 
we,  father?  (imploring  childish  voice)  And  go  back  to  the 
mountains  and  the  blue  sky  and  no  one  will  be  cruel  to 
us  any  more  —  and  I'll  kneel  down  before  Dave  and  tell 
him  that  I  was  true  and  loved  him  —  and  the  little  house 
won't  be  empty  a  —  any  more.  (falls  slowly  upon  the  floor 
at  his  feet.  MRS.  R.  and  MARQUIS  spring  forward.  MRS.  R. 
as  if  she  would  touch  her) 

MRS.  R.     What  ails  her? 

(RoG.  stands  up  and  waves  her  off  with  simple  but  solemn 
dignity.) 

ROG.  Stand  away,  Lyddy  Ann.  'Taint  fer  you  to  tech 
her.  Seems  like  she's  gone  back  to  North  Car'liny  in  spite 
of  ye. 

CURTAIN. 
END  OF  ACT  III. 


ACT  IV. 

SCENE. — Studio.    Same  scene  as  Act  2.    Small  sofa  down  L 

added. 
DISCOVERED. — DESMOND,  KATE,  NORA,  DAVE.     NORA  dashing 

off  note  at  table  R.    DAVE  seated  small  sofa  2. 

NORA,  (finishing  note)  There,  I've  finished  it.  (reads) 
Dear  Mr.  Rogers:  Mr.  Hardy  is  here  and  I  think  it  would 
be  better  if  you  brought  Esmeralda  at  once.  If  she  sees  him 
for  the  first  time  at  hom%,  there  will  be  danger  of  a  scene 
with  Mrs.  Rogers,  which  she  is  not  strong  enough  to  bear. 
Make  some  excuse  to  leave  her  in  the  carriage  below  until 
you  have  seen  him  first,  and  then  you  can  bring  her  up  and 
we  will  break  the  happy  news  to  her  gently.  With  much 
love  to  you  both.  Nora  Desmond. 

DES.  (back  of  table  R)  You  haven't  given  him  a  hint 
about  the  money. 

NORA.  The  money  isn't  of  the  slightest  consequence.  It 
doesn't  matter  to  him  whether  Mr.  Hardy  is  rich  or  poor  — 
and  as  for  Esmeralda  she  would  rather  have  him  poor. 
Who  cares  about  momey?  (with  scorn) 

DAVE.     He  don't,  nor  she  either. 

KATE.  (X  to  NORA)  Of  course  not.  Give  me  the  note, 
Nora.  I  will  send  it  while  you  talk  to  Mr.  Hardy. 

(NoRA  gives  note  to  KATE,  who  exits  L  3  E.) 

DES.  And  while  you  talk  to  Mr.  Hardy,  I'll  go  and  talk 
to  the  cook,  (exit  R  3) 

NORA.  (Xes,  seats  herself  by  DAVE)  Now,  Mr.  Hardy, 
you  shall  tell  me  all  about  your  visit  to  North  Carolina 
and  I  will  tell  you  about  Esmeralda.  Only  in  a  short  time 
I  shall  send  you  into  the  next  room  to  lunch  and  rest  a 
little,  because  you  are  tired  out  and  if  you  look  ill  you  will 
frighten  Esmeralda. 

DAVE.    Tell  me  first  about  Esmeralda. 

NORA,  (a  little  uneasy)  Well,  she  has  been  ill,  but 
( eagerly  taking  his  hand  as  he  starts )  —  not  very  ill,  though 
it  seemed  so  at  first.  She  was  only  ill  because  she  wanted 
you. 

DAVE.     Poor  little  tender  heart. 

48 


ESMERALDA.  49 

NOBA.  And  she  reached  tke  climax  of  it  because  she 
wanted  you  so  much  that  it  made  her  brave  and  she  had  a 
terrible  scene  with  her  mother  and  the  Marquis,  and  it  was 
too  much  excitement  for  her  in  her  weak  state,  and  she 
broke  down  under  it. 

DAVE.  (almost  fiercely)  What  did  they  do  to  her? 
What  had  he  to  do  with  it  —  that  Marquis  fellow  T 

NORA.  Oh,  not  very  much  really ---and  he  haa  never 
been  near  her  since,  Which  has  made  Mrs.  Rogers  awfully 
angry  with  Esmeralda;  but  you  mustn't  think  of  that  — 
you  must  think  that  she  will  be  here  in  a  short  time  and 
that  you  can  care  fey  her  and  make  her  well  yourself. 

DAVE.  How  I  will  care  for  her  and  watch  over  her  and 
love  her. 

NOBA.  Yes,  you  will  and  she'll  be  so  happy  — oh,  you 
don,'t  know  how  happy  she  will  be.  Now  just  tell  me  about 
the  little  house  before  I  make  you  go  into  the  other  room. 
How  does  it  look? 

DAVE,  (speaking  slowly  and  tenderly)  It  lodks  as  if 
it  had  stood  alone  long  enough  —  it  looks  to  me  almost  like 
some  human  creature  that's  waited  and  waited  day  after 
day  for  something  that  never  came,  as  if  it  felt  the  lone 
liness  and  silence  in  spite  of  the  sunshine  and  the  leaves 
rustling  and  the  birds  singing  about  it.  When  I  stood  and 
looked  at  it  it  seemed  —  to  me  —  as  if  there  never  was  such 
loneliness  and  silence  in  the  world;  and  I  knew  that  two 
things  were  wanting  to  change  it  to  a  place  that  could  never 
be  lonely  again,  (rise) 

NOBA.     (softly)     And  those  two  things? 

DAVE.  The  sound  of  a  light  footstep  and  the  music  of  a 
soft  voice  I  know  —  a  timid  voice  and  a  low  one  —  almost 
like  a  bird's  itself,  but  sweet  and  tender  enough  to  make 
the  sun  shine  a  different  way  and  the  leaves  rustle  with  & 
happier  sound.  And  it  seems  like  the  place  was  standing 
there  waiting  to  hear  it.  That's  how  it  seemed  to  me  — 
but  —  but  I'm  only  a  rough  fellow  and  perhaps  don't  know. 
(X  C) 

NORA.  Yes,  you  do  know.  No  one  so  well  in  the  world. 
And  soon  the  dear  little  place  will  hear  the  voice  and 
waken  up  —  and  you  will  be  so  happy  —  oh  how  happy  you 
will  be.  I  wish  I  was  going  to  be  so  happy,  (half  pathetic 
—  forgetful) 

DAVE.  You  will  some  day,  if  having  a  warm  tender  heart 
brings  happiness. 

NOBA.  (little  laugh)  Well,  we'll  pretend  it  does.  But  I 
was  going  to  say  that  you  will  spend  your  honeymoon  in 
your  little  home  —  only  you  two  together  —  together.  Isn't 
that  a  nice  word.  Together. 

DAVE.    It  means  a  great  deal  —  to  me. 


50  ESMERALDA. 

NORA.  Yes,  and  though  you  might  have  a  thousand 
handsomer  houses  you  will  never  love  any  so  much  as  that 
little  one, —  that  was  so  patient  and  waited  so  long  in  the 
stillness  and  solitude. 

DBS.  (enters  R  C  coming  forward)  I  say,  Nora,  that's 
all  very  well,  you  know  and  the  sentiment's  all  that  a  man 
could  wish,  but  I  don't  believe  that  Hardy  has  lived  on  any 
thing  but  Miss  Rogers  for  the  last  fortnight  and  as  I've 
had  a  very  successful  interview  with  the  cook  I'm  going  to 
take  him  off  into  the  next  room  and  make  him  eat  some 
thing.  Luncheon  is  low,  but  it's  nourishing. 

NORA,  (coming  L  C)  It  isn't  low  at  all  —  and  you're 
quite  right.  I'd  go  myself  only  I  want  to  be  here  when  Mr. 
Rogers  comes.  Take  him  with  you. 

DAVE,  (as  they  exeunt  into  inner  room)  You'll  call  me 
the  minute  they  come? 

NORA.    Yes. 

(Exeunt  DAVE  and  DES.     NORA  left  to  herself  goes  R  to 
mantel  and  looks  at  clock.     Speaking  reflectively.) 

Nearly  three.  It  generally  is  about  three  when  he  comes, 
I've  noticed.  What  nonsense.  The  idea  of  my  noticing 
when  he  comes  and  when  he  goes.  If  it  was  Jack  now,  there 
would  be  some  reason  in  it,  but  to  be  noticing  the  incom 
ings  and  outgoings  of  a  man  who  isn't  the  least  relation  to 
you  is  —  well,  it's  a  thing  you're  not  going  to  stand. 
(glances  at  clock;  checks  herself.  Go  to  easel.  Professes  to 
paint  furiously;  drops  brush,  picks  it  up  and  speaks  again) 
He  was  evidently  going  to  tell  me  something — I  wonder 
what  it  will  be?  Perhaps  he's  going  to  leave  Paris.  Well 
if  he  is  —  Jack  (slowly)  vyl\  miss  him  —  very  much.  1 
shall  be  rather  sorry  —  for  Jack. 

(Bell    rings;    instantly    becomes    absorbed    in    her    work. 
ESTABROOK  enters  L,  she  does  not  turn.) 

SOPHIE.     Mr.   Estabrook! 

EST.    Good  afternoon.    Ah,  another  panel,  Miss  Desmond. 

NORA.  Yes,  another ;  and  you  mustn't  disturb  me,  because 
I've  just  reached  a  critical  point. 

EST.  (aside)  So  have  I.  (puts  hat  on  table  L.  Aloud) 
Oh,  no.  I  won't  disturb  you.  Tortures  shouldn't  compel 
me.  May  I  sit  down? 

NORA.  Certainly.  Jack  will  be  here  directly  —  after  he 
has  taken  care  of  Mr.  Hardy. 

EST.  Will  he?  Then  on  second  thought,  I  won't  sit 
down.  I'll  take  another  look  at  the  panel,  (goes  to  her 


ESMERALDA,  51 

(behind  her)  looks  at  'it;  speaks  cheerfully)  That  is 
going  to  be  a  great  deal  worse  than  the  other,  isn't  it? 

NOBA.    Oh,  yes,  twice  as  bad. 

EST.  Then  you'll  possibly  get  twice  as  much  for  it  and 
buy  two  new  bonnets. 

NORA,  (turns  and  looks  at  him  over  her  shoulder)  Do 
you  know  (severely)  no  one  in  the  world  says  such  disre 
spectful  things  to  me  as  you  do? 

EST.  And  there  are  billions  of  people  in  the  world.  Now 
if  a  man  was  going  in  for  saying  disrespectful  things  he 
couldn't  set  himself  a  much  higher  standard,  could  he? 

NOBA.  And  besides  being  disrespectful,  you  are  disturb 
ing  me.  ( turns  away ) 

EST.      (brightens)      Really? 

NOBA.     Yes. 

EST.     (tone  of  relief)     That  relieves  me. 

NOBA.    Relieves  you? 

EST.  Yes.  You  see  I  thought  I  couldn't  disturb  you  — 
and  I  wanted  to  —  I  rather  came  to  try.  You've  disturbed 
me  a  good  deal  lately  and  I  wanted  to  balance  the  thing 
a  little. 

NORA.  You  came  to  try  to  disturb  me?  I  thought  you 
came  to  see  Jack? 

EST.  (shaking  head)  Thank  you,  no.  I  came  to  see  — 
the  panel  —  and  by  the  way  to  ask  you  something  about  a 
pair  of  gloves  I  have,  (takes  glove  from  pocket)  I'm 
afraid  they  are  yours. 

NORA,  (looking  at  gloves)  You  knew  they  were  mine. 
Where  did  you  find  them? 

EST.  In  my  vest  pocket  —  by  a  most  curious  coincident. 
They  have"  been  there  about  a  month.  I  hope  you  haven't 
needed  them. 

NORA.  I  have  needed  them  very  much.  People  who  live 
in  studios  and  paint  panels  as  badly  as  I  do,  can't  afford 
to  be  buying  six  button  gloves  every  fifteen  minutes. 

EST.  Then  I  should  advise  them  to  give  the  contract  to 
some  one  else  who  could  and  was  willing  to  go  in  for  that 
sort  of  thing. 

NORA.  Some  one  who  was  willing  to  go  in  for  buying  six 
button  gloves  every  fifteen  minutes  ? 

EST.  Some  one  who  was  willing  to  buy  anything  —  every 
thing  —  even  the  panels  —  provided  — 

NOBA.  (X  to  L.  Suddenly)  Oh!  There  —  there's  Jack 
talking  to  Mr.  Hardy.  Don't  you  want  to  see  him? 

EST.  No,  I  don't;  and  what's  more,  if  he  presents  him 
self  I  shall  warn  him  by  all  the  sacred  ties  of  friendship 
not  to  cross  the  threshold. 

NOBA.      (coming  C)      But  —  but  what  —  what  nonsense. 


5$  ESMERALDA. 

EST.  (  L  of  NORA)  No,  it  isn't.  I  mean  to  say  what  I 
came  to  say  in  spite  of  Jack. 

NORA.  (C)  But  you  are  disturbing  me,  and  I  haven't 
done  anything  for  days  and  days. 

EST.  (gently  taking  her  brush  away)  Suppose  you  leave 
the  panel  for  a  short  time.  ( leads  her  to  chair  R  C,  stands 
behind  her,  leaning  on  back  of  chair,  looking  down  puts 
gloves  into  her  hands)  I'm  very  much  interested  in  these 
just  now. 

NORA,  (unrolling  them)  They  don't  look  very  inter 
esting. 

EST.  I  have  a  fancy  for  seeing  you  put  one  'on  —  the  left 
one  for  instance.  ( touches  it,  leaning  over  shoulder) 

NORA,  (beginning  to  put  it  on)  I  have  no  objection  — 
I've  had  them  on  before  —  (pauses)  There's  something  in 
the  finger.  It's  a  —  a  ring. 

EST.     (taking  glove  again)     So  it  is. 

NORA,  (nervously)  I  can't  put  on  a  glove  with  a  ring 
in  it.  (ring  drops  out) 

EST.  Perhaps  you  can  put  on  a  ring  without  a  glove  on 
it.  Suppose  you  try. 

NORA.     Oh  —  no. 

EST.  (taking  her  hand  and  ring)  Suppose  you  let  me 
try  —  Nora. 

NORA.  But  —  there's  no  reason  why  I  should,  (half 
turns  face) 

EST.  There's  the  best  reasons.  The  affection  I  felt  for 
Jack  seems  to  have  transferred  itself  to  you,  Nora.  We 
won't  jest  any  longer.  I  came  here  to-day  to  say  I  love  you. 
I  don't  find  the  words  difficult  to  say.  They  are  yery  simple 
words.  I  wish  you  could  say  them  to  me  as  easily,  (mo 
ment's  pause  —  holds  her  hands) 

NORA,  (softly)  I  cannot  say  them  as  easily,  (gradual 
ly  leans  back  in  chair  —  turning  face  up  to  look  at  him) 
Suppose  —  I  was  —  to  think  them. 

EST.  Then  I  would  put  on  the  ring.  (Slips  it  on,  bends 
and  kisses  her.  Enter  ROGERS  L;  sees  what  is  going  on) 

SOPHIE.    Mr.  Rogers 

ROG.  They're  all  right,  Lor'  bless  em.  Nothin  can  hurt 
em.  They're  fixed  now.  (NoRA  and  EST.  see  him.  NOBA 
gives  little  scream  and  rises.  EST.  X  L  C)  Don't  ye  mind 
me,  child'n.  Taint  nithin  ter  be  ashamed  on.  It's  somethin 
ter  be  proud  on.  (goes  to  NORA,  who  has  risen  and  gives 
her  to  EST.  To  NORA)  Thar,  he'll  tek  care  o'  ye,  honey. 
(To  EST.)  If  she  had  a  father,  I  reckon  he'd  say  what  I 
do.  Stand  by  her.  (passes  NORA  over  to  EST.  L) 

EST.     I  think  you  may  trust  me. 

ROG.     Lor',    yes.     You're    the    right    kind.    An'    now  — 


ESMERALDA.  53 

(with  some  nervousness)  bout  Dave  and  Esmeraldy.  Esmer- 
aldy,  she's  down  stairs. 

NORA,     (fronting  R  3)     And  Dave  is  in  there. 

ROG.  He  is?  (tremblingly]  Lor',  how  glad  I'll  be  ter  see 
him.  (goes  toward  door  R;  pauses  an  instant)  Thar  ain't 
but  one  thing  ter  be  done.  I'm  agwine  to  stand  out  fer  see 
ing  things  set  right.  It's  a  kinder  nervous  thing  to  do, 
but  I'm  gwine  to  do  it.  (enter  MRS.  R.  L  C  L  3  E;  seizes 
his  arm;  drags  him  back  to  R  C  L  C  trembling  with  rage) 

MRS.  R.  (C)  I'm  just  in  time,  am  I?  and  not  a  minute 
too  soon.  I've  heard  the  whole  story  and  I'll  put  a  stop 
to  this. 

ROQ.     (R  C)     Mother,  kinder  quieten  down. 

MRS.  R.  A  nice  time  to  quieten  down.  It's  the  old  story. 
Setting  my  child  against  me  and  upholding  her  and  me 
trying  to, do  the  best  thing  I  can  for  her  and  make  a  lady 
of  her. 

NOHA.  (L  C)  Mrs.  Rogers,  let  me  say  a  few  words  to 
you. 

MRS.  R.  (viciously)  The  quieter  you  keep  the  better. 
You've  always  stood  by  her  in  your  still  impudent  way. 
You're  sharp  enough  to  know  it's  a  good  thing  to  be  friends 
with  a  rich  girl.  You  ought  to  be  on  the  good  side  of  her 
mother. 

EST.  (L)  If  a  —  you  are  going  to  make  remarks  of  that 
kind  —  suppose  —  a  —  you  generalize  —  it  would  be  better. 

ROG.    Mother,  kinder  quieten  down. 

MRS.  R.  (to  EST.)  I've  nothing  to  do  with  you  or  her 
either.  I've  come  here  to  tend  to  my  own  business,  (to 
ROG.)  You  thought  I  wouldn't  find  you  out,  did  you? 
He  hasn't  gone  back  to  North  Carolina,  has  he  ?  And  you've 
picked  him  up,  out  of  the  gutter  and  made  up  your  mind 
to  stand  up  against  me.  Where  are  you  keeping  him? 
I've  come  to  find  him  and  I'm  going  to  do  it.  Where  is  he? 

(RoG.  walks  up  to  her  C;  lays  hands  on  her  shoulder  and 
speaks  with  quiet  determination.) 

ROG.     In  there,      (points  to  inner  room  R  3) 

MRS.  R.  In  there?  And  Esmeralda  down  stairs  wait 
ing  to  be  brought  up,  and  you  —  you,  you.  Let  me  see  him 
—  that's  all  I  want.  (MRS.  R.  goes  toward  door  R;  ROGERS 
gets  there  before  her  and  leaves  her  back) 

ROG.    Mother,  kinder  quieten  down. 

MRS.  R.  (  R  C  staggers  back;  looks  at  him)  Wh  —  what 
do  you  mean  ?  What's  taken  you  ?  How  dare  you  stand 
there  and  brave  it  out?  It's  the  first  time.  What's  got 
into  you  ?  I  haint  had  my  way  with  you  for  twenty-five 
years  to  be  beat  like  this.  Let  me  pass  I  tell  you. 


54  ESMERALDA. 

ROG.  (R  3.  Serious  simplicity  and  determination) 
Mother  —  seems  like  we've  had  enough  —  seems  like.  Seems 
like  we've  got  to  a  place  whar  things  had  to  be  sorter  set 
tled  down  —  an  it's  me  as  has  got  to  do  it. 

MRS.  R.  You  —  that's  given  up  to  me  for  twenty-five 
years  ? 

ROG.  Yes,  mother.  Twenty-five  years  is  a  right  smart 
epell  —  an  now  —  seem s< like  —  we'd  better  try  it  kiuder  the 
other  way. 

MRS.  R.  (to  C  little  L)  You're  —  you're  a  fool.  You 
always  was  a  fool. 

ROG.  (seriously  to  C)  Mebbe  I  was.  Mebbe  we  might 
both  hev  been  wiser. 

MRS.  R.      (trying  to  pass)     Let  me  get  into  that  room. 

ROG.  No,  we've  tried  it  your  way  awhile.  We've  bed 
money  and  foren  languidges  —  an  ile  paintings  -7-  an  —  an 
Markises  —  we've  tried  elevating  ourselves  to  a  higher 
Bpear  —  an  —  what's  come  of  it  ? 

MRS.  R.  Plenty's  come  of  it,  if  you  had  the  sense  to  see 
it.  You've  seen  the  world  and  you've  traveled. 

ROG.  (sadly.  Turn  away,  little  R)  Yes,  we've  seed 
the  world.  We've  been  gay,  and  we've  left  home  behin,  aii 
friends  and  neighbors  we  growed  up  with  —  an  Esmeraldy's 
heart's  nigh  broke  —  an  Dave  is  brought  to  death's  door  — 
and  the  little  house  they  was  to  have  lived  in  an'  loved 
each  other  in  is  a  standin  empty  in  North  Car'liny. 

NORA,  (runs  to  him  and  puts  arms  caressingly  about 
him)  But  it  won't  stand  empty  long,  you  kind,  brave  old 
man.  You'll  make  them  happy  in  spite  of  her. 

ROG.  (pats  her  shoulder  icith  trembling  hand)  No, 
honey,  it  shan't  stand  empty  no  more.  I  ain't  been  doin 
my^duty  to  em  and  I'll  do  it  now  if  the  Lord'll  allow  me. 

MRS.  R.  (L  C)  You'll  bring  them  together  and  send 
them  back.  You  mean  that  you'll  defy  me  out  and  out? 

ROG.  I  ain't  a  defyin  ye,  mother.  That  aint  my  kind. 
But  I'll  bring  them  two  young  hearts  together  an  let  em 
beat  side  by  side  as  the  Lord  intended  —  an  no  one  shayn't 
hurt  nor  separate  em,  so  help  me  —  North  Car'liny. 

EST.  (L  C)  Nora,  you  have  my  permission  to  kiss  him, 
and  I  hope  you'll  do  it  at  once. 

(NoRA  kisses  him  icith  fervor  and  he  stands  with  his  hand 
on  h-er  shoulder.) 

MRS.  R.  (L  C)  You're  all  in  the  plot  —  I  always  knew 
you  were  —  he'd  never  have  had  the  strength  to  stand  out 
alone  —  you're  all  backing  him.  (to  NORA)  I  always  saw 


ESMERALDA.  55 

it  in  you,  you  sly  minx.  Esmeralda  was  always  harder  to 
manage  after  she'd  been  with  you. 

NORA.  (X  to  her)  I've  no  doubt  of  it  —  and  I  hope  she 
was.  And  let  me  tell  you  if  /  had  been  Esmeralda,  I  should 
like  to  have  seen  you  take  me  away  from  —  from  any  one 
1  loved,  (moves  X  to  EST.  L) 

EST.  So  should  I.  You'd  have  found  more  atmosphere 
about  it  than  would  have  agreed  with  you. 

MRS.  R.  Oh,  you're  all  in  it  —  and  you  (turning  fiercely 
to  ROG.)  you  think  you  can  hold  out? 

ROG.  1  mean  to  try,  mother.  I've  hed  —  a  kinder  deler- 
cacy  —  about  saying  anything  about  the  money  sorter  be 
longing  to  me,  but  it  does  —  in  a  way  —  sorter.  An  I've 
been  to  a  lawyer  ter  heve  papers  drawed  up  as'll  provide  for 
em;  an  when  we're  gone  thar's  no  one  but  them  to  hev 
what's  left  —  an  they  kin  live  where  they  like  and  how. 

MRS.  R.  And  you'll  give  up  all  I've  done  and  all  I've 
worked  for  —  what's  to  make  up  to  the  girl  for  it  —  what's 
she  going  back  to  anyhow;  answer  me  that? 

ROG.  Mebby  it  ain't  much,  mother,  and  mebbe  it's  a  good 
deal.  She's  going  back  to  home  and  love. 

MRS.  R.  Then  I  tell  you  she  shan't.  Do  you  think  I'll 
give  up  that  easy.  Did  I  ever  give  up  before?  I'll  end  this 
some  way  or  die  for  it.  (down  L  C) 

(Enter  ESM.  L;  alarmed  as  she  has  heard  her  mother  out 
side.     Goes  to  her  father  C,  who  meets  her  half  way.) 

ESM.  (C)  Father  —  mother  —  what  is  it?  Tell  me? 
Oh,  how  angry  you  look.  Oh,  how  angry  you  look.  I  knew 
something  had  gone  wrong  and  I  couldn't  keep  away. 

ROG.  Don't  tremble  so,  honey.  Taint  nothin  gone  wrong 
—  it's  somethin  thet's  a-goin  right. 

MRS.  R.  You  know  well  enough,  I  reckon  —  with  your 
tricks  and  plots,  deceiving  your  own  mother.  You  knew  he 
•was  here  and  the  only  wonder  is  you  weren't  up  before. 

ESM.  (much  agitated)  I  knew  he  was  here?  I  knew 
who  was  here?  Father  —  Nora  —  who  is  here?  Who  does 
she  mean? 

NORA.     No  one  you  need  be  afraid  to  see,  Esmeralda. 

ROG.  Don't  ye  tremble  so,  honey  —  nor  get  so  pale.  It's 
only  some  one  ye  thought  was  far  away. 

ESM.  No,  no,  it  isn't  true.  Don't  tell  me  so  and  break 
my  heart.  There's  half  the  world  between  us. 

ROG.  Thar  haint  nothing  between  ye,  honey  —  nary  thing. 
Look  there. 


56  ESMERALDA. 

(DAVE  appears  in  door  R,  ESM.  utters  a  cry  and  starts 
toward  him.  MBS.  R.  catches  her  arm  and  endeavors  to 
drag  her  back) 

ESM.  Let  me  go.  I'm  not  afraid  now.  Not  all  the  world 
should  keep  me  from  him.  (ESMERALDA  dashes  MBS.  R. 
aside  Xes  R  and  rushes  into  DAVE'S  arms.  R  C) 

DAVE,  (near  door  R  3)  I  thought  you'd  gone  back  on 
me,  Esmeralda,  but  you  was  true  —  you  was  true. 

(Roa.  goes  to  MBS.  R.  L  C  and  lays  hand  pleadingly  on  her.) 

ROG.  Mother,  don't  grudge  it  to  em  —  don't  ye  —  don't 
ye. 

(DAVE  and  ESM.  to  L  of  table  R.) 

MRS.  R.  Me  grudge  it  to  them?  (fiercely)  No,  I  won't. 
Let  them  have  what  they  got  and  welcome.  He  came  over 
here  to  marry  a  rich  girl,  did  he  —  and  he's  got  her  — 
thanks  to  you  —  with  all  she's  worth.  You  —  (turning) 
You  are  going  to  set  them  up  for  life  and  give  them  all  they 
want.  Do  it  if  you  can.  That's  all  I've  got  to  say. 

NOBA.  (catching  EST.'S  arm  delightedly)  She  has  found 
it  out. 

EST.  And  we  are  on  the  spot. 

ROG.    Mother,  what  d'ye  mean? 

MRS.  R.  What  do  I  mean?  (triumphantly)  Just  this 
—  I've  got  a  letter 

NORA,     (ingenuously)     In  my  pocket  which 

MRS.  R.  What  do  you  know  about  it?  What  does  that 
piece  oi  impudence  mean? 

NORA.    I  heard  of  a  letter  like  it  once  before. 

MRS.  R.    You  did  ? 

EST.  Yes  —  and  it  was  from  North  Carolina  —  name  of 
the  man  who  wrote  it,  George  Drew. 

(NoRA  and  EST.  go  back  of  table  L.) 

NORA.  And  it  was  about  some  land  that  didn't  turn  out 
so  well  as  was  expected.  Is  yours  anything  like  it? 

MRS.  R.     (astonished)     You  —  you've  known  it  all  along. 

DAVE,  (stepping  up  to  MRS.  R.,  L  C.  As  Dave  goes  to  C, 
ROG.  X  to  ESM.  R)  Mrs.  Rogers,  I've  known  it  myself,  and 
if  you'll  let  me  speak 

MRS.  R.  You've  known  it?  Oh,  of  course  you  knew  you 
were  going  to  marry  a  beggar  instead  of  an  heiress.  You 
have  traveled  half  the  world  over  for  pure  love,  haven't 
you? 


ESMERALDA.  57 

ROG.     (with  ESM.  R)     Mother!     Mother! 

MBS.  R.  You  —  you're  to  blame  for  it  all.  But  for  you 
I'd  have  sold  the  place  out  and  out  —  but  for  you  that  girl 
would  have  been  married  to  a  marquis  by  this  and  settled 
for  life  —  but  for  you  we  shouldn't  have  been  disgraced 
and  mocked  and  laughed  at. 

EST.  (back  of  table  L)  And  but  for  him  of  course  the 
vein  of  ore  would  have  been  carefully  arranged  by  nature 
to  meet  all  demands  and  wouldn't  have  worked  out  and 
infamously  turned  up  in  another  man's  farm  and  made  a 
millionaire  of  him. 

MRS.  R.  Another  man's  farm?  Who's  the  man?  Who 
is  he? 

DAVE.     (C.    Simply)     Mrs.  Rogers,  I'm  the  man. 

MRS.  R.  (L  C  gasping  and  falling  back)  You!  YOU! 
You? 

DAVE.  Yes,  and  what's  mine  is  Esmeralda's  and  her 
father's  and  her  mother's;  and  so  you  see  the  thing  stands 
just  about  where  it  did  —  an'  you're  no  poorer  than  before 
• — only  that  Esmeralda  belongs  to  me. 

(EsM.  crosses  to  DAVE.     Draws  ESM.  to  his  breast.) 

MRS.  R.  (looking  wi Idly  around)  Is  this  true?  Is  it  — 
is  it? 

(ROGERS  sits  in  chair  R.) 

EST.  (L  corner)  Yes,  xnadame.  He  (signifying  DAVE) 
has  a  letter  in  his  pocket  which 

NORA,  (back  of  table  L  C)  And  but  for  Mr.  Hardy  you 
would  have  known  it  two  months  ago.  He  sent  you  money 
when  you  had  spent  your  own  —  and  he  would  have  sent  it 
until  the  end  of  time  and  said  nothing  only  he  wanted 
Esmeralda  and  found  out  that  she  wanted  him.  Everybody 
isn't  selfish  and  cruel.  There  are  such  things  as  love  and 
truth  and  they  are  worth  all  the  money  the  world  could 
hold.  There  —  ( goes  to  EST.  excited ) 

EST.  (regards  her  with  scarcely  concealed  enthusiasm) 
How  do  you  know? 

NORA.    I  found  it  out,  and  so  has  Esmeralda. 

MRS.  R.  (sinking  into  chair  L,  stunned  but  savage.  To 
DAVE)  Don't  speak  to  me.  You've  won  and  I've  lost.  Leave 
me  alone  awhile.  Go  and  tell  him.  (she  signifies  ROGERS, 
who  has  sat  down  and  is  mopping  his  forehead  in  a  wild, 
bewildered  way;  DAVE  goes  to  him) 

DAVE.     Old  man,  don't  you  understand? 

ROG.  Seems  like  things  was  kinder  mixed  —  and,  mother, 
she  wasn't  a-gettin'  the  best  of  it. 


58  ESMERALDA. 

DAVE.  It's  easy  enough  told.  You  stood  by  me  when 
you  thought  I  was  a  poor  man  and  you  a  rich  one. 

ROG.      (eagerly)      An'  now  —  (starts  from   chair  —  rises) 

DAVE.  What's  mine  is  yours,  and  we'll  stand  by  each 
other. 

ROG.  (seizing  his  hand)  You  don't  mean  ter  tell  me  thet 
we  ain't  rich  folks  no  more? 

DAVE.    The  money  has  changed  hands,  that's  all,  old  man. 

ROG.  And  the  hands  it's  in  now  is  the  right  ones.  And 
mebbe  now  it's  over  rnother'll  kinder  be  easy  on  us.  (goes 
to  MRS.  R.,  L.  DAVE  and  ESM.  follow)  Mother • 

ESM.    Mother 


DAVE.    Mrs.  Rogers 


MRS.  R.  (turns  sharply)  I  don't  see  what  you've  got  to 
say  to  me. 

ROG.  (quietly.  R  of  MRS.  R.)  We  thought  mebbe  you'd 
got  something  to  say  to  us,  mother.  Seems  like  Dave  now 
—  ye  might  want  ter  say  a  word  or  so  to  Dave  —  an'  he's 
ready  ter  hear  it. 

MRS.  R.  (savagely)  Does  he  want  me  to  say  I  forgive 
him? 

(WARN  CURTAIN.) 

ROG.  No,  mother.  It  don't  seem  like  thar  war  eny 
needcessity  on  that.  He  ain't  done  nothin'  but  act  like  a 
man,  an'  a  brave,  loving,  honest  one,  as  was  too  much  a 
man  to  bear  a  grudge  agin  them  that's  injured  him. 

MRS.  R.     Does  he  want  me  to  ask  him  to  forgive  me? 

DAVE.  (R  of  ESM.  who  is  R  of  ROG.)  No,  I  don't,  Mrs. 
Rogers,  I  only  want  you  to  shake  hands  and  let's  begin 
again  in  a  fair  and  square  way.  It  don't  pay  for  one  per 
son  to  get  into  the  way  of  ruling  too  much.  When  we 
begin  over,  we'll  start  fair.  You  shall  have  your  rights  and 
the  old  man  shall  have  his  —  and  I'll  see  that  Esmeralda 
has  hers. 

ROG.  And  we  shall  be  apt  to  come  out  more  kinder 
evener. 

(Enter  KATE,  L  and  DESMOND  R.    KATE  with  letters.) 

KATE,      (come  down  R)     Here's  a  lovely  piece  of  news. 

NORA.    What  is  it  ? 

KATE.  I've  just  found  this  letter  in  my  room.  It  is  from 
Mrs.  Delaplayne. 

NORA.  (L)  And  what  in  the  world  is  in  it  that  you 
bring  it  here? 

(WARN  CURTAIN.) 


ESMERALDA.  59 

KATE.  The  Marquis  is  in  it.  Listen,  (reads)  You 
know  that  man  who  was  reported  to  be  about  to  marry  Miss 
Rogers,  the  Marquis  de  Montessin;  he  has  just  eloped  with 
that  awfully  stupid  Miss  Meadows,  whose  father  struck  oil 
a  few  years  ago.  They  say  he  heard  that  Miss  Rogers  was 
not  as  rich  as  he  had  imagined  and  so  he  took  the  other 
with  much  discretion. 

(KATE  and  DBS.  go  up  to  easel  R  C.) 

MBS.  R.  (rises)  I  knew  that  something  was  wrong  when 
he  gave  up  his  claims  so  suddenly.  (X  R) 

NORA.  I  knew  that  something  was  wrong  before  he  gave 
up  his  claims.  He  was  a  wicked,  mercenary  reptile. 

EST.    Miss  Desmond,  this  heat  alarms  me. 

Roo.  Yer  most  times  gin'aliy  right,  marm,  but  you  ain't 
a  good  jidge  of  a  Markis.  (Roo.  crosses  to  her  as  he  speaks') 

ESM.  Oh,  he  is  gone,  and  I  shall  never  see  him  again. 
(clasps  DAVE'S  arm)  Oh,  Dave,  it  frightens  me  to  think  of 
him. 

DAVE.  There  is  no  need  of  that,  honey.  The  sun  shines 
again  as  it  used  in  the  old  days.  It  shines  upon  the  little 
house,  and  the  door  is  waiting  to  be  opened.  And  we  are 
together. 

CURTAIN. 


JUST  PUBLISHED 

IN    FRENCH'S    STANDARD    LIBRARY    EDITION 

THE    GREAT    COLLEGE    PLAY    ENTITLED 

BROWN    OF    HARVARD 

A  Play  in  Four  Acts 
By  RIDA    JOHNSON    YOUNG 

THE  CAST   OF  CHARACTERS 
TOM  BHOWN, 

GEKALD  THORNE,  stroke  oar  of  the  "Varsity  Eight,"  who  is  not  his  own  mastet 
WILFRED  KENYON. 
CLAXTQN  MADDEN, 
JOHN  CARTWRIGHT, 
"TUBBY"  ANDERSON, 

"HAPPY"  THURSTON,   f  Students  with  properly  developed  college  spirit. 
WALTER  BARNARD, 
WARREN  PIERCE, 
THOMPSON  COYNE. 
"Bus"   HALL,  "Varsity  Coach." 

VICTOR  COI/TON,  who  wants  the  English  crew  to  defeat  his  Alma  Matet 
CODRINGTON,  Manager  of  the  English  crew. 
ELLIS,  Manager  of  the  Varsity  crew. 
CAPTAIN  HODGES,  1 

GEORGE  SELWYN, 

JAMES  VAN   RKNSSALAER,    V  Members  of  the  Varsity  crew. 
ARTHUR  BLAKE, 
AUSTIN  LATCHOW.  J 

OLD  CLOTHES  MAN.  MRS.  KENYON.  MARIAN  TH-JRNS- 

DOORKEEPER.  EMELYN  KENYON.  EDITH  SINCLAIR. 

BUTLER. 

SYNOPSIS   OF   SCENES 

ACT    I 

PLACE.  —  Cambridge,  Mass. 

SCENE.  —  Tom  Brown's  and  Claxton  Madden*!  apartments  in  "The  Wetherby." 
a  students'  apartment  house. 

ACT   II 

SCENE.  —  Yard  at  Harvard.     The  exterior  of  a  dormitory. 

ACT  in 

"CENE.  —  "The  Varsity  Boat  Club"  on  the  day  of  the  race  with  the  English 
Amateurs.     The  scene  is  laid  in  the  large  hall  of  the  boathouse. 


me  as  Act  One. 


. 
1'KiCii,   50 


JTTST 


The  Great  Successful  College  Play  Entitled 

CUPID   AT   VASSAR 

A  COMEDY  DRAMA  IN  FOUR  ACTS 

By  OWEN   DAVIS 

AUTHOR  OF  "AT  YALE  ' 

CAST  OF  CHARACTERS 

IOHW  WILLETT  ...............  A  Young  Architect. 

AMOS  NORTH  ................  Of  North  &  Son,  Bankers. 

SHINY  .......................  A  Lazy  Darkey. 

HANK  GUBBIN  ...............  The  Hired  Man. 

MRS.  NEWTON  ...............  Of  Great  Falls,  Vermont. 

KATE  ..........  .  ............  Her  Daughter. 

WANDA  .....................  Kate's  Half-sister. 

Miss  PAGE  ............  ....... 

SALLY  WEBB.  .  ,  ............. 

MATTY  HART  ................ 

ALICK  WORTH  ............... 

PATTY  SNOW  ................ 

HELEN  CONWAY  ............. 

As  many  more  jollege  girls  as  are  desired. 

SYNOPSIS 

ACT  I 

SCENE,  sitting-room  of  Kate's  home  in  Vermont.  (At  the  Old 
Home.) 

ACT  II 

SCENE,  Kate's  room,  in  a  senior  double.     (At  Vassar.) 
ACT  III 

SCENE,  same  set  as  ACT  I.  with  snow  and  winter  backing  and 
Christmas  tree,  etc.  (Vacation  Time.) 

ACT  IV 

SCENE,  college  campus  at  Vassar.  (Graduatioi  Pav.  The  Daisy 
Chain.) 

This  comedy  is  eminently  suited  to  girls'  schools  and  colleges,  as  it 
can  be  played  by  all  females.  There  are  only  four  male  char 
acters,  two  of  which  are  eccentric  parts,  and  all  the  male  parts  can 
be  easily  dressed  by  girls.  The  play  has  all  college  surroundings, 
and  the  last  act  contains  the  famous  daisy  chain  which  ia  so  popular 
at  girls'  colleges. 

PRICE.  25  GENTS 


JUST  PUBLISHED 


An  Original  Farce  in  Tbree  Acts 
By  GEORGE  H.  BROADHURST 

__===_  Ik 

CAST  OF  CHARACTERS 

JONES,  who  travels  for  a  hymn-book  JIMJM 

EBENEZER  GOODLY,  a  professor  of  anatomy 

ANTONY  GOODLY,  D.D.,  Bishop  of  Ballarat 

RICHARD  HEATHERLY,  engaged  to  Marjorie 

THOMAS  HOLDER,  a  policeman 

WILLIAM  BIGBEE,  an  inmate  of  the  Sanitarium 

HENRY  FULLER,  superintendent  of  the  Sanitarium 

MRS.  GOODLY,  Ebenezer's  wife 

CISSY,  Ebenezer's  ward 

MARJORIE,  ) 

MINERVA     )  ™"enezers  daughters 

ALVINA  STARLIGHT,  Mr.  Ooodly's  sister 
HELMA,  a  servant 

SYNOPSIS  OF  SCENES 

ACT  1. — Handsomely  furnished  room  *n  home  of 

Ebenezer  Goodly. 
ACT  2.— The  same. 
ACT  3.— The  same. 

This  is  the  jolliest  sort  of  a  farce,  clean  and  sparkling  all  the  way 
•brough.  A  professor  of  anatomy  is  lured  to  a  prize  tight  and  the 
police  make  a  raid  on  the  "mill."  The  professor  escapes  to  his 
home,  followed  by  Jones,  a  traveling  salesman,  who  sells  hymn 
books  when  he  can  and  playing  cards  when  he  cannot.  The  police 
are  on  the  trail,  so  Jones  disguises  himself  by  putting  on  a  Bishop's 
garb,  and  a  lot  of  funny  complications  ensue.  The  other  f unmakers 
are  ai^ed  not  a  little  by  an  escaped  lunatic.  This  celebrated  farce 
has  been  a  tremendous  success  for  years  on  the  professional  stage  and 
W  now  published  for  the  first  time. 

PRICE,  50  CENTS 


JUST  PUBLISHED 

AT  YALE 

A  Comedy  Drama  of  College  Life  in  Three  Act* 

By   OWEN    DAVIS 


CAST  OF  CHARACTERS 

DICK  SHEELET Yale  '05. 

UR.  CLAVTON  RANDAL Of  New  York. 

IACK  RANDAL His  son,  Yale  '05. 

DAVE  BURLY Substitute  on  Yale  Crew. 

IIM  TUCKER Captain  of  Yale  Crew. 

JIMSEY A  Telegraph  Messenger  Boy. 

CLANCY A  Prize-fighter. 

JOHN  KENNEDY Coach  Yale  Crew. 

FRANK  YOUNG Member  of  Yale  Crew. 

CD.  SCOTT Friend  of  Dick  and  Member  of 

Crew. 

POM  HAYNES Member  of  Yale  Crew. 

IOBERT  CROSBY Member  of  Yale  Crew. 

[EPSON Boatman. 


IAHRY  WILSON 

WILL  TAYLOR 

5.  RANDAL Jack's  Mother. 

DOROTHY  RANDAL Her  daughter 

JOLLY  BURK A  friend  of  Dorothy. 

HAME  BRADY A  poor  girl. 

SYNOPSIS   OF  SCENES 
T  I.— Vanderbilt  Hall,  New  Haven. 

iCT  II.— SCENE  1.— A  Boat  House,  Gales  Ferry. 

SCENE  2. — The  Start.     Gales  Ferry  Quarters. 
SCENE  3 — The  Race.     Thames  River. 

CT  III. — Exterior  of  Griswold  Hotel,  Eastern  Point.     New  Loo« 
don.     The  night  of  the  race. 

A.  Comedy  Drama  of  American  College  Life  In  Three  Acts,  by  Owen  Davis. 
ni;  piece  was  played  with  tremendous  success  all  over  the  United  States  by 
|aul  Gilmore.  Sixteen  males,  four  females,  four  of  the  men  being  unimportant, 
hlj  I;  a  play  with  a  distinct  college  setting,  in  which  athletics  are  prominent: 
ist  the  kind  of  play  that  Is  wanted  by  nearly  every  high  school  and  college  con- 
'raplating  putting  on  a  play  as  part  of  their  commencement  exercises.  There 
ire  pretty  college  girls,  freshmen,  a  telegraph  messenger  boy.  coaches,  ^yplcaj 
ollege  boys,  members  of  the  crew,  substitutes,  etc.  Any  number  of  males  and 
I  em&les  can  be  used  In  the  ensembles.  Plays  a  full  evening:. 

PRICE.  35  CJWiTS  • 


UNIVERSITY  OF  CALF 

Los  Ang. 
This  book  is  DUE  on  the  la. 


QL 

JUL  1  8  1978 


PSD  2338  9/77 


fgr  SEND  FOR  A   NEW  "' 


(French's  Standard  Drantg 

Mill     1 

II        II              II 

VOL.  XLI. 

VOL.  XLUk  J 

821  The  Pirate's  Legacy 

345  Drunkar.i'MMkff 

•  1  1  1  1  ii    !• 

II                II                           II 

8SS  The  Charcoal  Buruer 

IIS  Adelgitha 

«$irfS      3  1158  00290  3564 

MSenor  Valiente 

348  No  Thoroughfare   I  I 

fe  Forest  Rose 
'•'  >;i  ighter 

349  Peep  O'  Day           |_Life 
350  Everybody's  Friend 

:>7:;  Henry  V 
374  Unequal  Match 

.-97  Pygmalion  At 

.-.:•«  Leah 

•hnllla's  Husbs   „ 
}*>  Pure  Gold 

35M»en.  Grant 
SsAiathleen  Mavourneeu 

.',75  May  or  Dolly's  Delusion 
3J6  A  latoona 

.199  Scrap  of  Paper 
400  Lost  ill  Lmidoi 

VOL.  XLII. 
Ki  Ticket  of  Leave  Man 

VOL.  XLV. 
353  Nick  Whiffles 

VOL.  XLVIII. 

::77  Enoch  Arden 

VOL.  U. 

4ol  Octoroon 

MFool'i  Revenge 
Bl  O'Neil  the  Great 

354  Fruits  of  the  Wine  Cup 
36!>  Drunkard's  Warning 

:i7t<  Under  the  Gas  Light 
379  Daniel  Rochat 

402  Confederate  Spy 
41)3  Mariner's  Return 

BSllan.lv  Andy 
BPiraieof  the  Isles 

356  Temperance  Doctor 
357  Aunt  Dinah 

380  Caste 

3»1  School 

404  Ruined  by  Drink 
405  Dreams 

C4  Kai.ch..n 

358  Widow  Freeheart 

3K-.'  Home 

406  M.  P. 

85  Little  liarefoot 

359  Frou  Frou 

3S3  David  Garrlck 

407  War 

136  Wild  irisll  Girl 

360  Long  Strike 

3S4  Ours 

4U8  Birth      • 

VOL.  XLIII. 

VOL.  XLVI. 

VOL.  XLIX. 

VOL.  UL 

3T  Pearl  of  Savov 
*i  r»      i  ii    ~ 

361  Larcers 

385  Social  Glas; 

409  Nightingale 

M  Dead  Heart 

it!-.-  Ln.  ille 

•IN)  Daniel  Drue* 

410  Progress 

»  Ten  Nights  in  a  Bar-room 
N  Dumb  Boy  of  Manchester 
41  BelphegortheMounteb'k 

363  Randall's  Thumb 
364  Wicked  World 
365  Two  Orphans 

387  Two  Roses  • 
iss  Adrienue 
3»9  The  Bells 

411  Play 
41-2  Midnight  Charga 
413  Confidential  Clerk 

«  Cricket  on  the  Hearth 

366  Colleen  Bawn 

390  Uncle 

414  Snowball 

(3  Printer's  Devil 

367  'Twixt  Axe  and  Crown 

Wl  Courtship 

415  Our  Regiment 

14  Meg's  Diversion 

368  Lady  Claucarthy 

392  Not  Such  a  fool 

416  Marri.d  for  Money 

Hamlet  in  Three  Acts 
Guttle  &  Guluit 

DRENCH'S  INTERNATIONAL  COPYRIGHTED  EDITION 
OF  THE  WORKS  OF  THE  BEST  AUTHORS. 

The  following  very  successful  plays  have  just  been  issued  at  25  cents  per  copy. 

THE  BALLOON.    Farcical  comedy  In  S  Acta  by  3. 
:  FE.N.N.   -6  male,  4  female 


PAIR  OF  SPECTACLES.      Comedy  In  :i  Act? 

ithor  of  "Sowing  the  Wind,' 

aracters. 
FOOL'S   PARADISE.      An  orlemai  play  In  3 


Wind,"  Ac."    5  male,"4  female  characters.  ~" 

HE  SILVER  SHIELD.  An  original  comedv  In 
S  Act.  by  SvnNKY  GRUXPY,  author  of  "Sowing" the 
Wind,"  &c.  6  male,  3  female  characters. 

HE  GLASS  OP  FASHION.  An  original  com 
edy  in  4  Ac-t«  by  Svi'M-.v  ^Ki'snv,  author  of  "Sowing 
th»  Wind,"  Ad  6  male.  5  female  characters. 


...I  M 


MISS  (  LEOPATRA.     Farce  in  3  Act«  by  ARTHUR 


1 1-  ch: 

dy  Act  by  I.   ZINOWILL. 


,le,  3  fe 
SIX    PERSONS 

1  male,  1  female  cli! 
FASHIONABLE  INTELLIGENCE.    Comedl- 

etts  in  !   Act  by  PKKCY  FKNDALL.     1  male,  1  female 

cha  .-acter. 


HIO/HLAND  LEGACY.  Comedy  In  1  Act  by 
BRANDON  THOMAS.  autlMr  of  "Charley'i  Aunt/' 
5  male,  V  female  characters. 


Contents  of  Catalogue  which  is  sent  Free. 


nateur  Dramm 

Evening's  Enterlainment 

New  Recitation  Books 

mateur  Operas 
•ttcles  Needed  bv  Amateurs 

Fairy  and  Home  Plays 
F-ench's  Costumes 

Nigger  Jok,-<  and  Stmip  Speeches 
Parlor  Magic 

rt  of  Scene  Painting 

French's  Editions 

Parlor  Pantomimes 

iker's  Reading  Club 

French's  Italian  Operas 

Pieces  of  I'K'H-antrv 

:ards.  Whiskers,  Mustaches,  etc. 

French's  Parlor  Comedies 

Poems  for  Recitations 

.and  Sets  of  1  'lavs 

French's  Standard  ana  Minor  Drama 

Play-  for  Mr..    Characters  only 

ilwer  Lytton's  Plays 

French's  Standard  aud  Minor  Drama, 

Round  Games 

irlesqne  Dramas 

bound 

Scenery 

imt  Cft* 

French's  Scenes  for  Amateurs 

Scriptural  and  Historical  Dramas 

.bnian's  Story 

Frobisher's  Popular  Recitals 

Sensation  Dramas 

.rnivnl  of  Authors 

Grand  Armv  Dramas 

Serio-Comic  Dramas 

isra.le  Plavs 

Guid»  Books  for  Amateurs 

Shadow  Pantomimes 

lildren's  Plavs 
mic  Dramas  for  Male  Characters 

Guide  to  Selecting  Plays 
Hints  on  Costumes 

Shakespeare's  Plavs  for  Amateurs 

Shakespeare'-  Plays 

>nlv 

Home  Plavs  for  Ladles 

Stanley's  Dwarfs 

'Stunie  Rooks 

Irish  Plays 

Spirit  Gum 

ajie  Ha'r 

Irving's  Plays 

TaMeaux  Vivants 

mberland  Edition 

Juvenile  Plays 

Talma  Actor's  Art 

-rkev  Dramas 
an.iis  for  Boys 
awing-room  MonoTognes 

Make-Up  Book 
Make-Up  Boi 
Mock  Trial 

Temrerance  Plavs 
Vocal  Music  of  -ihakesneare's  Pl»y« 
Wehiter,'*  Atttoe  Kdition 

onition,  Reciters  and  Speakers 
hiopiau  Dni«..as 

Mrs.  Jarley's  Wax  Works  fT'TI'C' 

New  PUys 

Wi|»,  etc. 
T'flHl^i 

.       r\T?    ("  \|.irvr»»*" 

r    ijr    v^r^ 

VOL.  XLII. 

329  As  Like  as  Two  Peas 
330  Presumptive  Evidence 
331  Happy  Band 
332  Pinafore 
333  Mock  Trial 
334  Mv  Uncle's  Will 
335  Happy  Pair 
336  My  Turn  Next 

VCf.ft6.iL  V>  ; 
«7  Sunset!  .' 
as  F,,r  Half  a  Million 
i39  C:.ble  Car 
i4H  E-irlv  Bird 
541  Alumni  I'lay 
!4-J  Show  of  Hands 
143  Barbara 
344  Who's  Who 

'    tOE.  XLIV. 
345  Who's  To  Win  Him 
346  Which  is  Which 
347  Cup  of  Tea 
:;l*  Sarah's  Young  Man 
349  Hearts 
350  In  Honor  Bound      [La 
351  Freezing    a    Mother-it 
352  My  Lord  in  Livery 

AMUEL  FRENCH,  28-30  West  38th  Street,  New  York  City.  | 

$W    He«v  and  Explicit  Descriptive  Catalogue  Mailed  Pr*f  on  Request. 


FRENCH'S  MINOR  DRAMA. 

Pri««  IB  Cents  each Rn,.r,A  v,.i._   ._  *<   -.- 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

'  Return  this  material  to  the  library 
from  which  it  was  borrowed. 


SAMUEL  FRENCH,  28=30  West  38th  Street.  New  York  City. 

Hew  «r.£  Exs^it  Descriptive  Catalogue  Mailed  Free  3*  Re  juesi 


A     000133692     4 


lERSIfl 

si 

REGIONAL 


